Boston Symphony Orchestra Concert Programs, Season 124, 2004-2005

2004-2005 SEASON

BOSTON SYM PHONY *J ORCHESTRA

JAM ES LEVI N E

''"- ;* -

JAMES LEVINE MUSIC DIRECTOR

BERNARD HAITINK CONDUCTOR EMERITUS

SEIJI OZAWA MUSIC DIRECTOR LAUREATE Invite the entire string section for cocktails.

With floor plans from 2,300 to over Phase One of this

5,000 square feet, you can entertain magnificent property is

in grand style at Longyear. 100% sold and occupied.

Enjoy 24-hour concierge service, Phase Two is now under con-

single-floor condominium living struction and being offered by

at its absolute finest, all Sotheby's International Realty & harmoniously located on Hammond Residential Real Estate an extraordinary eight- GMAC. Priced from $1,725,000.

acre gated community atop prestigious Call Hammond at (617) 731-4644,

Fisher Hill ext. 410. LONGYEAR. a/ l7isner jtfiff BROOKLINE

V+*

rm SOTHEBY'S Hammond CORTLAND IIIIIIUU] SHE- | h PROPERTIES INC ESTATE 3Bhd International Realty

REASON #11 open heart surgery that's a lot less open

There are lots of reasons to consider Beth Israel Deaconess Medical Center

for your major medical care. Like minimally invasive heart surgery that minimizes

pain, reduces cosmetic trauma and speeds recovery time. From cardiac services

and gastroenterology to organ transplantation and cancer care, you'll find some

of the most cutting-edge medical advances available anywhere. To find

out more, visit www.bidmc.harvard.edu or call 800-667-5356.

Beth Israel A teaching hospital of Deaconess Harvard Medical School Medical Center

Red | the Boston Affiliated with Joslin Clinic | A Research Partner of the Dana-Farber/Harvard Cancer Center Official Hospital of James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 124th Season, 2004-2005

Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman

John F. Cogan, Jr., Vice-Chairman Robert P. O'Block, Vice-Chairman Nina L. Doggett, Vice-Chairman Roger T. Servison, Vice-Chairman Edward Linde, Vice-Chairman Vincent M. O'Reilly. Treasurer

Harlan E. Anderson Eric D. Collins Edmund Kelly Edward I. Rudman George D. Behrakis Diddy Cullinane, George Krupp Hannah H. Schneider Gabriella Beranek ex-qfficio R. Willis Leith, Jr. Thomas G. Sternberg Mark G. Borden William R. Elfers Nathan R. Miller Stephen R. Weber Jan Brett Nancy J. Fitzpatrick Richard P. Morse Stephen R. \veiner Samuel B. Bruskin Charles K. Gifford Donna Riccardi, Robert C. Winters Paul Buttenwieser Thelma E. Goldberg ex-qfficio James F. Cleary

Life Trustees Vernon R. Alden Julian Cohen Edna S. Kalman Peter C. Read

David B. Arnold, Jr. Abram T. Collier George H. Kidder Richard A. Smith

J. P. Barger Mrs. Edith L. Dabney Harvey Chet Krentzman Ray Stata

Leo L. Beranek Nelson J. Darling. Jr. Mrs. August R. Meyer John Hoyt Stookey Deborah Davis Berman Mrs. John H. Fitzpatrick Mrs. Robert B. Newman John L. Thorndike

Jane C. Bradley Dean W. Freed William J. Poorvu Dr. Nicholas T Zervas

Helene R. Cahners Avram J. Goldberg Irving \^ . Rabb

Other Officers of the Corporation

Mark Volpe, Managing Director Thomas D. May, Chief Financial Officer Suzanne Page, Clerk of the Board

Board of Overseers of the Boston Symphony Orchestra, Inc. Diddv Cullinane. Chair

Helaine B. Allen George M. Elvin Robert J. Lepofsky Carol Reich

Joel B. Alvord John P. Eustis II Christopher J. Lindop Alan Rottenberg Marjorie Arons-Barron Pamela D. Everhart Shari Loessberg Joseph D. Roxe Diane M. Austin Judith Moss Feingold Edwin N. London Michael Ruettgers Lucille M. Batal Lawrence K. Fish Jay Marks Kenan Sahin

Maureen Scannell Myrna H. Freedman Jeffrey E. Marshall Arthur I. Segel Bateman Dr. Arthur Gelb Carmine Martignetti Ross E. Sherbrooke Milton Benjamin Stephanie Gertz Joseph B. Martin. M.D. Gilda Slifka

George W. Bern- Jack Gill Robert J. Mayer, M.D. Christopher Smallhorn James L. Bildner Robert P. Gittens Thomas McCann Charles A. Stakeley Bradley Bloom Paula Groves Joseph C. McNay Jacquelynne M. Alan Bressler Michael Halperson Albert Merck Stepanian

Michelle Courton Brown Ellen T. Harris Dr. Martin C. Mihm. Jr. Patricia L. Tambone William Burgin Virginia S. Harris Robert Mnookin W ilmer Thomas Rena F. Clark Deborah M. Hauser Paul M. Montrone Samuel Thorne

Carol Feinberg Cohen Carol Henderson Robert J. Morrissey Diana Osgood Mrs. James C. Collias Richard Higginbotham Robert T O'Connell Tottenham Charles L. Cooney Phyllis S. Hubbard Norio Ohga Loet A. Velmans Rannv Cooper Roger Hunt Louis F Orsatti Paul M. Verrochi Martha H.W. William W Hunt Joseph Patton Matthew Walker Crowninshield Ernest Jacquet Ann M. Philbin Larrv ^\eber Cynthia Curme Charles H. Jenkins, Jr. May H. Pierce Robert S. Weil James C. Curvey Michael Joyce Joyce L. Plotkin David C. Bernstein Tamara P. Davis Martin S. Kaplan Dr. John Thomas James Westra Mrs. Miguel de Stephen Kay Potts, Jr. Mrs. Joan D. \^ heeler Braganca Cleve L. Killingsworth Dr. Tina ^oung Reginald H. White Disque Deane Douglas A. Kingsley Poussaint Richard Wurtman. M.D. Betsy P. Demirjian Robert Kleinberg Millard H. Pryor. Jr. Dr. Michael Zinner

Paul F Deninger Dr. Arthur R. Kravitz Patrick J. Purcell D. Brooks Zug Alan Dvnner Overseer? Emeriti

Caroline Dwight Bain Mrs. James Garivaltis Mrs. Gordon F. Robert E. Remis Sandra Bakalar Mrs. Kenneth J. Kingsley Mrs. Peter van S. Rice William M. Bulger Germeshausen David I. Kosowskv John Ex Rodgers Mrs. Levin H. Campbell Jordan Golding Robert K. Kraft Mrs. Jerome Rosenfeld Earle ML Chiles Mark R. Goldweitz Benjamin H. Lacy Roger A. Saunders Joan P. Curhan Mrs. HaskeU R. Mrs. V. illiam D. Larkin Lynda Anne Schubert Phyllis Curtin Gordon Hart D. Leavitt Mrs. Carl Shapiro JoAnne \^ alton Susan D. Hall Frederick H. L. Scott Singleton Dickinson John Hamill Lovejoy. Jr. Mrs. Micho Spring

Phyllis Dohanian Mrs. Richard D. Hill Diane H. Lupean Mrs. Arthur I. Strang Goetz B. Eaton Glen H. Hiner Mrs. Charles P. Lyman Robert A. Wells Harriett Eckstein Marilyn Brachman Mrs. Ham- L. Marks Mrs. Thomas H.P. Edward Eskandarian Hoffman C. Charles Marran \^ hitney

J. Richard Fennell Lola Jaffe Barbara Maze Margaret \^ illiams- Peter H.B. H. Eugene Jones Hanae Mori DeCeUes Frelinghuysen Mrs. S. Charles Kasdon Mrs. Hiroshi H. Xishino Mrs. Donald B. Wilson

Mrs. Thomas Richard L. Kave John A. Perkins Mrs. John J. Wilson Galligan. Jr. Daphne Brooks Prout

Officers of the Boston Symphony Association of Volunteers Donna Riccardi. President Lrsula Ehret-Dichter. Executive Vice-President/ Ann M. Philbin. President-Elect Tangleuood

Olga Turcotte. Executive T ice-President/ Patricia A. Kavanagh. Secretary Adm in istration V. illiam A. Along. Treasurer

Linda If. Sperandio. Executive \ ice-President/ Judy Barr. dominating Chair Eundraising

V. illiam S. Ballen. Tangleuood Audley H. Fuller. Membership Lisa A. Mafrici. Public Relations Melinda Brown. Resource Lillian Katz. Hall Services Leah \\eisse. Swnphonv Shop Development James M. Labraico. Special Staffing Jerry Dreher. Education and Projects Outreach

Table of Contents

BSO News 5 On Display at Svmphonv Hall 6 New to the BSO' 11 Don Quixote in Music, by Helen M. Greenwald 15 BSO Music Director James Levine 19 The Boston Symphony Orchestra 22 This Peek's Boston Symphony Orchestra Program 25 Notes on the Program 27 Featured Artists 53 Future Programs 68 Symphony Hall Exit Plan 70 Symphony Hall Information 71

This week's Pre-Concert Talks are given by BSO Publications Associate Robert Kirzinger.

Program copyright ©2005 Boston Symphony Orchestra, Inc. Cover design by Sametz Blackstone Associates, Boston Cover photograph by Michael Lutch Administration Mark Volpe, Managing Director Eunice and Julian Cohen Managing Directorship, fullyfunded in perpetuity Tony Beadle, Manager, Boston Pops Peter Minichiello, Director of Development Anthony Fogg, Artistic Administrator Kim Noltemy, Director of Sales and Marketing Marion Gardner-Saxe, Director of Human Resources Caroline Taylor, Senior Advisor to the Ellen Highstein, Director of Tanglewood Music Center Managing Director Thomas D. May, Chief Financial Officer Ray F. Wellbaum, Orchestra Manager ADMINISTRATIVE STAFF/ARTISTIC

Bridget P. Carr, Archivist-Position endowed by Caroline Dwight Bain • Karen Leopardi, Artist Assistant • Vincenzo Natale, Chauffeur/Valet • Suzanne Page, Assistant to the Managing Director/Manager of Board Administration • Alexander Steinbeis, Assistant Artistic Administrator

ADMINISTRATIVE STAFF/ PRODUCTION Christopher W. Ruigomez, Operations Manager Felicia A. Burrey, Chorus Manager • H.R. Costa, Technical Supervisor • Keith Elder, Production Coordinator • Jake Moerschel, Stage Technician • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Anna Stowe, Assistant Chorus Manager • Timothy Tsukamoto, Orchestra Personnel Coordinator

BOSTON POPS Dennis Alves, Director ofArtistic Programming Jana Gimenez, Operations Manager • Sheri Goldstein, Personal Assistant to the Conductor • Julie Knippa, Administration Coordinator • Margo Saulnier, Artistic Coordinator

BUSINESS OFFICE

Sarah J. Harrington, Director of Planning and Budgeting Pam Wells, Controller Lamees Al-Noman, Cash Accountant • Yaneris Briggs, Accounts Payable Supervisor • Theresa Colvin, Staff Accountant • Michelle Green, Executive Assistant to the Chief Financial Officer • Minnie Kwon, Payroll Assistant • Y. Georges Minyayluk, Senior Investment Accountant • John O'Callaghan, Payroll Supervisor • Mary Park, Budget Analyst • Harriet Prout, Accounting Manager • Andrew Swartz, Budget Assistant • Teresa Wang, StaffAccountant DEVELOPMENT Rebecca R. Crawford, Director of Development Communications Sally Dale, Director of Stewardship and Development Administration Alexandra Fuchs, Director ofAnnual Funds Jo Frances Kaplan, Director of Institutional Giving Robert Meya, Acting Director of Major and Planned Giving Mia Schultz, Director of Development Operations

Rachel Arthur, Major and Planned Giving Coordinator • Maureen Barry, Executive Assistant to the Director of Development • Claire Carr, Administrative Assistant, Corporate Programs • Diane Cataudella, Associ- ate Director of Stewardship • Amy Concannon, Annual Fund Committee Coordinator • Joanna N. Drake, Assistant Manager, Annual Fund Events • Stacey Elwood, Special Events Manager • Sarah Fitzgerald, Manager of Gift Processing and Donor Records • Barbara Hanson, Manager, Koussevitzky Society • Emily Horsford, Friends Membership Coordinator • Allison Howe, Gift Processing and Donor Records Coordinator

• Justin Kelly, Assistant Manager of Gift Processing and Donor Records • Brian Kern, Senior Major Gifts Officer • Katherine M. Krupanski, Assistant Manager, Higginson and Fiedler Societies • Mary MacFar- lane, Manager, Friends Membership • Tanya Melanson, Development Communications Project Manager •

Susan Olson, Stewardship Coordinator • Cristina Perdoni, Gift Processing and Donor Records Coordina- tor • Gerrit Petersen, Director of Foundation Support • Jennifer Raymond, Associate Director, Friends Membership • Phoebe Slanetz, Director of Development Research • Elizabeth Stevens, Assistant Manager of Planned Giving • Mary E. Thomson, Program Manager, Corporate Programs • Hadley Wright, Founda- tion and Government Grants Coordinator EDUCATION AND COMMUNITY PROGRAMS Myran Parker-Brass, Director of Education and Community Programs Gabriel Cobas, Manager of Education Programs • Elisabeth Alleyne Dorsey, Curriculum Specialist/ Library Assistant • Leslie Wu Foley, Associate Director of Education and Community Programs • Zakiya Thomas, Coordinator of Community Projects/Research • Darlene White, Manager, Berkshire Education and Community Programs • Leah Wilson-Velasco, Education and Community Programs Assistant '' ;

EVENT SERVICES Cheryl Silvia Lopes, Director of Event Services Lesley Ann Cefalo, Special Events Manager • Kathleen Clarke, Assistant to the Director of Event Services • Emma-Kate Kallevik, Tanglewood Events Coordinator • Kyle Ronayne, Food and Beverage Manager HUMAN RESOURCES Dorothy DeYoung, Benefits Manager Sarah Nicoson, Human Resources Manager INFORMATION TECHNOLOGY David W. Woodall, Director of Information Technology Guy W. Brandenstein, Tanglewood User Support Specialist • Andrew Cordero, Manager of User Support • Timothy James, Applications Support Specialist • John Lindberg, Senior Systems and Network Administrator Brian Van Sickle, User Support Administrator PUBLIC RELATIONS Bernadette M. Horgan, Director of Media Relations

Meryl Atlas, Media Relations Assistant • Kelly Davis Isenor, Media Relations Associate Sean J. Kerrigan, Associate Director of Media Relations • Amy Rowen, Media Relations Associate PUBLICATIONS Marc Mandel, Director of Program Publications Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator/Boston Pops Program Editor

SALES, SUBSCRIPTION, AND MARKETING

Amy Aldrich, Manager, Subscription Office Leslie Bissaillon, Manager, Glass Houses • Helen N.H. Brady, Director of Group Sales Alyson Bristol, Director of Corporate Sponsorships Sid Guidicianne, Front of House Manager James Jackson, Call Center Manager Roberta Kennedy, Manager, Symphony Shop Sarah L. Manoog, Director of Marketing Programs Michael Miller, SymphonyCharge Manager Kenneth Agabian, Marketing Coordinator, Print Production • Rich Bradway, Manager of Internet Marketing • Lenore Camassar, SymphonyCharge Assistant Manager • Ricardo DeLima, Senior Web Developer • John Dorgan, Group Sales Coordinator • Peter Grimm, Tanglewood Special Projects Manager • Kerry Ann Hawkins, Graphic Designer • Susan Elisabeth Hopkins, Graphic Designer • Julie Kleinhans, Senior Subscription Representative • Elizabeth Levesque, Marketing Projects Coordinator • Michele Lubowsky, Assistant Subscription Manager • Jason Lyon, Group Sales Manager • Dominic Margaglione, Subscription Representative • Ronnie McKinley, Ticket Exchange Coordinator • Michael Moore, Web Content Editor • Lee Paradis, Assistant Manager, Symphony Shop • MarcyKate Perkins, SymphonyCharge Representative • Kristen Powich, Coordinator, Corporate Sponsorships • Doreen Reis, Marketing Coordinatorfor Advertising • Caroline Rizzo, SymphonyCharge Representative • Megan E. Sullivan, Access Services Coordinator • Sandra Swanson, Manager, Corporate Sponsorships

Box Office Russell M. Hodsdon, Manager • David Winn, Assistant Manager

Box Office Representatives Mary J. Broussard • Cary Eyges • Lawrence Fraher • Arthur Ryan SYMPHONY HALL OPERATIONS Robert L. Gleason, Director of Hall Facilities Michael Finlan, Switchboard Supervisor • Wilmoth A. Griffiths, Supervisor of Facilities Support Services • Catherine Lawlor, Administrative Assistant • John MacMinn, Manager of Hall Facilities • Shawn Wilder, Mailroom Clerk

House Crew Charles Bent, Jr. • Charles F. Cassell, Jr. • Francis Castillo • Eric Corbett • Thomas Davenport • Michael Frazier • Juan Jimenez • Peter O'Keefe Security Christopher Bartlett • Matthew Connolly • Cleveland Olivera • Tyrone Tyrell, Security Supervisor Cleaning Crew Desmond Boland • Clifford Collins • Angelo Flores • Rudolph Lewis • Lindel Milton, Lead Cleaner • Gabo Boniface Wahi TANGLEWOOD MUSIC CENTER Patricia Brown, Associate Director • Beth Paine, Manager of Student Services • Kristen Reinhardt, Coordinator • Gary Wallen, Scheduler TANGLEWOOD OPERATIONS David P. Sturma, Director of Tanglewood Facilities and BSO Liaison to the Berkshires VOLUNTEER OFFICE Patricia Krol, Director of Volunteer Services Paula Ramsdell, Project Coordinator BSO A Special Symphony Hall Exhibit: Maud Powell, Pioneer American Violinist

An exhibit sponsored by the Maud Powell Society and Boston Pops Esplanade Orchestra concertmaster Joseph Scheer will be on display in the Massachusetts Avenue corridor of Symphony Hall from Thursday, January 27, through Saturday, February 26. As a violin student at the New England Conservatory of Music in the 1970s, Mr. Scheer acquired a collection of 78rpm recordings featuring 52 violinists performing the Bohemian composer/violinist Franz Drdla's Souvenir. As a student interested in what makes a great violin-

ist great, Scheer sat and listened to the entire collection. It was then that he discovered the artistry of Maud Powell (1867-1920), the American violinist who gave the American premieres of the Tchaikovsky and Sibelius violin concertos. Though virtually unknown today, Maud Powell—who was born in Peru, Illinois, and died in Uniontown, Pennsyl- vania—is considered by many as America's first great master of the violin to achieve an international reputation. She appeared with the Boston Symphony Orchestra on five occasions between 1887 and 1912, playing violin concertos of Bruch, Saint-Saens, Tchaikovsky, and Sibelius. Joseph Scheer's interest in Maud Powell led to his involvement with the Maud Powell Society. The exhibit will include reproductions of, and original documents from, the collections of Scheer and the Maud Powell Society, as well as relevant materi- als from the BSO Archives.

BSO Archival Telecasts Released on DVD Through Video Artists International

The Boston Symphony Orchestra, Video Artists International (VAI), and WGBH-TV in Boston have announced a worldwide distribution agreement for DVD releases of telecasts from the BSO Archives featuring the BSO led by a distinguished roster of conductors. The initial releases included Charles Munch conducting Berlioz's UEnfance du Christ with soloists Donald Gramm, Florence Kopleff, John McCollum, and Theodore Uppman, a performance simulcast on radio and television by WGBH-FM/TV on December 13, 1966, from Symphony Hall; and Sir John Barbirolli conducting An Elizabethan Suite arranged by Barbirolli from the Fitzwilliam Virginal Book, the intermezzo "A Walk to the Paradise Garden" from Delius's opera A Village Romeo and Juliet, Walton's Partita for Orchestra, Symphony Shopping

Visit the Symphony Shop in the Cohen Wing at the West Entrance on Huntington Avenue.

Hours: Tuesday through Friday, 11-4; yQwtn/iAowwy&Adfr Saturday from 12-6; from one hour BOSTON SYMPHONY ORCHESTRA before each concert through intermission, and for up to thirty minutes after each BSO concert "•!.'•-«. •• • • • ?+ 2

and Brahms's Symphony No. 2, a concert telecast from Sanders Theatre at Harvard Uni- versity on February 3, 1959. Two more DVDs are scheduled for release this month: an all-French compilation program from 1959-62 with Charles Munch leading Berlioz's Symphonie fantastique, Debussy's La Mer, and Ravel's Daphnis et Chloe Suite No. 2, all telecast from Sanders Theatre in Cambridge; and the BSO concert of January 20, 1959, also from Sanders Theatre, with Pierre Monteux conducting Brahms's Tragic Overture, Hindemith's Nobilissima Visione, and Stravinsky's Petrushka. The VAI/BSO Archival DVDs are available at the BSO's Symphony Shop and website, www.bso.org; directly from VAI through their direct mail catalogue or online at www.vaimusic.com; and through all major music and video outlets, including Tower Records, Virgin, Borders, Barnes & Noble, and Amazon.com.

Karl Amadeus Hartmann, The Composer and his Times: BSO Guest Conductor Ingo Metzmacher In Conversation with Music Historian Franzpeter Messmer, Tuesday, February 22

In conjunction with the BSO's American premiere performances February 24-26 of Karl Amadeus Hartmann's Symphony No. 4, and to mark the hundredth birthday of the composer's birth, the Goethe-Institut Boston and the Boston Symphony Orchestra will present an hour-long discussion on Hartmann (1905-1963) with BSO guest conductor Ingo Metz-

Individual tickets are on sale for all concerts in the BSO's 2004-2005 season. For specific information on purchasing tickets by phone, online, by mail, or in person at the Symphony Hall box office, please see page 71 of this program book.

On Display in Symphony Hall This season's BSO Archives exhibit in the Massachusetts Avenue corridor of Symphony Hall heralds the arrival of James Levine as the BSO's fourteenth music director—the first American-born conductor to hold that position. The appointment by BSO founder-sustainer Henry Lee Higginson of Georg Henschel as the orchestra's first conductor established a precedent of hiring foreign-born and -trained conductors (preferably German or Austrian) for the BSO. The entry of the United States into World War I in 1918 ushered in a new era, one dominated by French and Russian conductors. Drawing on the Ar- chives' extensive collection of photographs, letters, and news clippings, the exhibit examines the lineage of BSO conductors culmi- nating with the appointment of James Levine in 2001. The photo at left shows James Levine rehearsing with the Cleveland Orchestra, ca.1968 (photo by Peter Hastings, courtesy Cleveland Orchestra Archives). The photo at right shows Mr. Levine rehearsing with the BSO at Tanglewood in July 1972 (Whitestone Photo). There are also two new exhibits in the Cohen Wing display cases. The first examines the history of Symphony Hall's great Aeolian-Skinner organ with an emphasis on the extensive renovation work that was recently completed. The second highlights the BSO's touring history, focusing on the BSO's role as cultural

ambassador through the many international tours it has made since its first Euro- pean tour in 1952. macher and music historian Frankpeter Messmer, to take place at the Goethe Institut, 170 Beacon Street, Boston, on Tuesday, February 22, from 6:30-7:30 p.m. The event will focus on Hartmann's significance as both a composer and organizer of new music concerts, and will include a question-and-answer session with the audience. Attendance is free and open to the public. For more details, please visit www.goethe.org/boston or call (617) 262-6050.

New Starting Time For Evening Pre-Concert Talks

Please note that, in order to allow the musicians more time to warm up on stage prior to the concerts, the BSO's evening Pre-Concert Talks now begin at 6:45 rather than 7 p.m. The starting time for the Friday-afternoon talks (12:15 p.m.) and for the Open Rehearsal Talks (9:30 a.m. on Thursday mornings; 6:30 p.m. on Wednesday evenings) remains unchanged. The remaining Sunday-afternoon talk, on March 13, will begin at 1:45 p.m. prior to that day's 3 p.m. Boston Symphony concert. We appreciate your understanding in this matter. Given by a variety of distinguished speakers from Boston's musical community, these informative half-hour talks include taped examples from the music being performed. This week, BSO Publications Associate Robert Kirzinger discusses Gandolfi, Bartok, and Mus- sorgsky. In the weeks ahead, Jan Swafford of Tufts University discusses Brahms (February 3-8), Elizabeth Seitz of the Boston Conservatory of Music discusses Falla and Strauss (February 10-12), and Jessie Ann Owens of Brandeis University discusses Wagner, Men- delssohn, Wyner, and Haydn (February 16-19).

BSO Members on Compact Disc alto trombonist Darren Acosta, and The New 18th Century Players (made up primarily of A wide variety of compact discs featuring BSO members) led by Alain Trudel for music members of the Boston Symphony Orchestra of Tommaso Albinoni, Georg Christoph Wag- are available in the Symphony Shop, includ- enseil, Johann Georg Albrechtsberger, and ing the following new entries to the catalogue. Johann Michael Haydn. For more informa- BSO violist Michael Zaretsky's latest CD tion, visit www.trombonebarron.com. on the Artona label features him in the six cellos suites of J.S. Bach performed on viola, BSO Members in Concert as recorded in Symphony Hall in January/ February 2004. Mr. Zaretsky uses the earli- BSO principal second violinist Haldan Mar- est authentic source for these works, the fac- tinson is featured in Goldmark's Violin Con- simile manuscript text of Anna Magdalena certo with the Wellesley Symphony Orchestra Bach. For more information about this disc, led by former BSO assistant concertmaster and about Mr. Zaretsky's previous compact Max Hobart on Sunday, February 6, at 3 p.m. discs, visit www.michaelzaretsky.net. at Mass Bay Community College, 20 Oakland

BSO principal trombone Ronald Barron Street, in Wellesley. Also on the program is has released two new compact discs in the Franck's D minor Symphony. Tickets are $18, Boston Brass Series. The first, entitled "The $15, and $5, available at the door. For fur- Return of the Alto," features solo and ensem- ther information call (781) 235-3584 or visit ble music for alto trombone by Leopold Moz- www.wellesleysymphony.org. art, Marc-Antoine Charpentier, BSO trom- Ronald Knudsen leads the New Philhar- bonist Norman Bolter, Eric Ewazen, Hannes monia Orchestra in Mendelssohn's FingaVs Meyer, Alfred Hornoff, and Corrado Saglietti. Cave Overture, Shostakovich's Hamlet Film Mr. Barron is joined by a number of his brass Suite, and Brahms's Symphony No. 3 on and string player colleagues from the BSO, Saturday, February 12, at 8 p.m. at Babson and also by the Harvard University Wind College in Wellesley and on Sunday, Febru- Ensemble, Thomas Everett, conductor; pian- ary 13, at 3 p.m. at the First Baptist Church ists Eric Ewazen and Vytas Baksys, and or- in Newton. Single tickets are $25, with dis- ganist Peter Sykes. On the second disc, "An counts for seniors, students, and families. Evening from the 18th Century," he is joined For more information call (617) 527-9717 by BSO principal horn James Sommerville, or visit www.newphil.org. Earlier that month, SPECIAL FAMILY CONCERT FEBRUARY 12, 2005 @ llOOn

Rafael Fruhbeck de Burgos, conductor Awet Andemicael, soprano (The Boy) Peter Bronder, tenor (Master Peter) Jonathan Lemalu, baritone (Don Quixote) Bob Brown Puppets

FALLA "Master Peter's Puppet Show"

Falla's Master Peter's Puppet Show Is based on an Incident from "Don Quixote" in which the Knight of the Woeful Countenence and Sancho Panza happen

upon a puppet show in a small village. The show's audience is represented by large puppets, while smaller puppets enact the actual puppet show.

Saturday april 9, 2005 @ io:ooam and noon BRUCE HANCEN, CONDUCTOR "Symphony SCORES"

It doesn't have to be a symphony to be symphonic!

Composers write great orchestral music for all kinds of non- symphony art forms, including ballet, opera, and film. The Boston Symphony has a strong tradition of presenting the "other" side of symphonic music. For this concert series we will feature the music of great composers, including John Williams, whose music was not originally intended for performance on the concert stage.

Tickets on sale now: $18 ** Call (617) 266-1200, or visit www.bso.org.

Family concerts are designed for children ages 5 and up.

is proud to suppor 7 and Family Concerts

8 on Sunday, February 6, at 2 p.m. at Babson 9431 (TTD/TTY 617-638-9289). Members of College, the New Philharmonia offers "Cele- the BSO's Disability Services staff are avail- brate Words and Music," its second "Family able to answer the line during business hours Discovery" concert of the season, in which and will answer any messages left at other young actors will help introduce children times. to music through use of images and poetry. Single tickets for this event are $14, with In Case of Snow... discounts for seniors, students, and families. To find out the status of a Boston Symphony concert and options available to you in case Symphony Hall Tours of a snow emergency, BSO subscribers and call special Symphony Hall The Boston Symphony Association of Volun- patrons may a number. Just dial 638-9495 at any teers offers tours of Symphony Hall throughout (617) time for a recorded message regarding the the Symphony season. Experienced volunteer current status of a concert. Please note, too, guides discuss the history and traditions of that ticket refunds will only be offered for the BSO and its world-famous home, Sym- concerts that are cancelled. phony Hall, as the group is escorted through public and selected "behind-the-scenes" areas of the building. Free walk-up tours Ticket Resale lasting approximately one hour take place on Please remember that subscribers unable the first Saturday of each month at 1:30 p.m. to attend a particular BSO concert in their and every Wednesday at 4:30 p.m. All tours series may call (617) 638-9426 up to one begin in the Massachusetts Avenue lobby of hour before the concert to make their tickets Symphony Hall, where the guide meets par- available for resale. This not only helps building. ticipants for entrance to the No bring needed revenue to the orchestra, it reservations are necessary. In addition, group also makes your seat available to someone tours—free for New England school and who might otherwise be unable to attend the community groups, or at a minimal charge concert. You will receive a mailed receipt for tours arranged through commercial tour acknowledging your tax-deductible contri- operators—can be arranged in advance (the bution within three weeks of your call. BSO's schedule permitting) by contacting the BSAV Office at (617) 638-9391 or by e-mail- Coinings and Goings... ing [email protected]. Please note that latecomers will be seated by the Patron Services staff during the first con- Disability Services venient pause in the program. In addition, Telephone Line please also note that patrons who leave the The Boston Symphony Orchestra has a dedi- hall during the performance will not be cated telephone line for disabled patrons who allowed to reenter until the next convenient would like to purchase tickets to BSO, Pops, pause in the program, so as not to disturb the or Tanglewood concerts, or who need infor- performers or other audience members while mation about disability services at Symphony the concert is in progress. We thank you for Hall or Tanglewood. This line is (617) 638- your cooperation in these matters.

9 ' i WM :

The Boston Modern Orchestra Project Is quickly becoming

known as one of the top orchestras in the country for its

award-winning concerts. BMOP presents today's most provocative

classical music performed by the best of Boston's superb musicians. u-

THIS MONTH &TA mm-ItfB&J Minimalism

FRIDAY FEBRUARY 18, 2005 8:00 JORDAN HALL AT NEW ENGLAND CONSERVATORY

JOHN ADAMS Common Tones in Simple Time

PHILIP GLASS Symphony No. 3

ELENA RUEHR SHIMMER

li STEVE REICH Tehillim GLASS u, Gil Rose, conductor

lfree ticket BUY ONE TICKET AND RECEIVE A SECOND TICKET FREE. M Call and mention promotion code bso free" by 5:00, February 16.

Pre-concert Program Notes with the evening's composers, 7:00 in Lhe iheaLer.

To read complete program notes, purchase tickets, or learn more about lhe soloists and composers presented by BMOP, please visit www.bmop.org or call (617) 363-0396.

GIL ROSE, ARTISTIC DIRECTOR

10 New to the BSO

Three new players and two new assistant conductors have joined the BSO this season.

Elizabeth Rowe joined the Boston Symphony Orchestra as principal flute in September 2004. Formerly the assistant principal flute of the National Symphony Orchestra, she has also held positions with the Bal- timore Symphony, the Fort Wayne Philharmonic, and the New World Symphony. She has served on the faculties of the Peabody Institute of Music, the University of Maryland, and Catholic University. A native of Eugene, Oregon, Ms. Rowe received her bachelor of music degree in 1996 from the University of Southern California, where she studied with Jim Walker, former principal flute of the Los Angeles Philharmonic. Win- ner of first prize in the 2000 National Flute Association Young Artist Competition, she has performed as a soloist with orchestras throughout the country, including many of the orchestras with which she has held positions. Most recently she performed the Nielsen Flute Concerto with the Baltimore Symphony Orchestra. Ms. Rowe has participated in several national and international music festivals, most notably as a Fellow at the Tanglewood Music Center. An advocate of new music, she was invited to Carnegie Hall to perform a concert of works by Schoenberg under the direction of Pierre Boulez. Ms. Rowe enjoys chamber music and was a founding member of the southern Florida-based Metropolis Winds woodwind quintet.

Polina Sedukh joined the Boston Symphony Orchestra in September 2004. Born in 1980 to a family of musicians in St. Petersburg, Russia, Ms. Sedukh began studying violin at four, her first teachers being her father Grigory Sedukh and Savely Shalman. In 1987 she entered the Special Music School of the St. Petersburg Conservatory, joining the studio of Lev Ivaschenko. She joined the studio of Vladimir Oftcharek in 1995 and entered the Rimsky-Korsakov State Conservatory in 1998. She has participated in master classes with Wolfgang Marschner and Sakhar Bron and in January 2000 began studying at the Longy School of Music in Cambridge with Laura Bossert and Malcolm Lowe. Ms. Sedukh gave her first major public performance at seven, with the Chamber Orchestra of Liepaya, Latvia; her first international performance was in 1991 in Chicago, followed by a tour in Germany. Winner of first prize in the solo category and the grand prize in chamber music at the 1992 Young Talents of Russia Festival, and a laureate of the Evgeny Mravinsky Festival in St. Petersburg, Russia, she has participated in important festivals on both sides of the Atlantic, has toured Germany and Aus- tria annually since 1993, and has won prizes in such international competitions as Coast of Hope in Bulgaria (grand prize as soloist and first prize in chamber duo), the International

Spohr Competition in Weimar, Germany, and the Negev Competition in Israel (first prize). In 1999 she took the Barenreiter Special Prize in the Young Concert Artist International Audi- tions in Leipzig, Germany.

A native of Israel, cellist Mickey Katz joined the Boston Symphony Orchestra in September 2004, having previously been principal cellist of Boston Lyric Opera. His numerous honors include the Presser Music

Award in Boston, the Karl Zeise Prize at Tanglewood, first prize in the Rubin Academy Competition in Tel Aviv, and scholarships from the America Israel Cultural Foundation. An advocate of new music, he has premiered and recorded Menachem Wiesenberg's Cello Concerto with the Israel Defense Force Orchestra and has worked with composers Elliott Carter, Gyorgy Kurtag, John Corigliano, Leon Kirchner, and Augusta Read Thomas in performing their music. A Tanglewood Music Center Fellow in 2001, he was invited back to Tanglewood in 2002 as a member of the New Fromm Players, an alumni ensemble-in-residence that works on new pieces and collaborates with young composers. As a chamber musician, he has performed in important venues in the United States, Europe, and Israel, and has participated in the Marlboro Festival and Musicians from Marlboro tour, collab-

11 PRIVATE DOCKAGE. Just one of the exclusive '.fjirnt"' amenities at Battery Wharf. You will also rind wraparound terraces with amazing ocean views. Exceptional services from tne new Regfent Boston Hotel. Fabulous Restaurants

and a Spa by L'Institut de Guerlain. We gfet it. You love tne water! Limited number or waterfront units available. Don't miss this opportunity!

BATTERY WHARF Utopia engineered

Experience virtual walU-tnrougfhs and floorplans at www.batteiywharf.com. For more information call

61 7-994-9090 or visit our Sales and Information Center at 344 Commercial St. in Boston 7 days a week.

12 orating with such distinguished players as Pinchas Zukerman, Tabea Zimmermann, Kim Kash- kashian, and Gilbert Kalish. A graduate of the New England Conservatory of Music, he completed his mandatory military service in Israel as a part of the "Distinguished Musician Pro- gram," playing in the Israel Defense Force String Quartet, performing throughout Israel in classical concerts and in numerous outreach and educational concerts for soldiers and other audiences.

Jens Georg Bachmann is an assistant conductor of the BSO as of this season, having previously served as assistant conductor to James Levine at the Munich Philharmonic, a position created for him in 2000. He has been associate conductor of the Fort Worth Symphony Orchestra and principal conductor of the Texas Chamber Orchestra in Dallas, and has for three summers been assistant conductor of the UBS Verbier Festival Orchestra, preparing that ensemble for its annual appearances at the

Verbier Festival in Switzerland and also leading it in concerts at Verbier and on tour at EXPO 02. As an opera conductor, he has recently led performances at the Niirnberg State Opera, Diisseldorf Opera, the Komische Oper Berlin (where Ml he made his professional opera debut at twenty-four), and the Berlin State Opera. He has also 1 conducted numerous orchestras in Germany. A native of Berlin, Mr. Bachmann holds degrees in violin and conducting from the Hanns Eisler Musikhochschule in Berlin and the Juilliard School in New York, where he was recipient of the Bruno Walter Memorial Scholarship. Ad- ditional projects include a fundraising and educational outreach tour as violinist in South Africa, and an Interarts Project in the Clark Studio Theatre at New York's Lincoln Center, where he conceived and conducted a production of the Strauss/Moliere Le Bourgeois Gentil- homme combining dance and music. Mr. Bachmann is a 1996 winner of the Carl Maria von Weber Conducting Competition in Munich and of the 1998 Intercities Performing Arts Foun- dation/Enrico Caruso Competition. Mr. Bachmann resides in Boston.

An assistant conductor of the Boston Symphony Orchestra as of this season, Ludovic Morlot has maintained a close working relationship with the BSO since he was the Seiji Ozawa Conducting Fellow in 2001 at the Tanglewood Music Center, when he assisted Mr. Ozawa with the TMC production of Ravel's L'Heure espagnole and led the world premiere of the TMC's 2001 Fromm Commission, Robin de Raaffs Piano Concerto, in that summer's Festival of Contemporary Music. He has since served as a BSO cover conductor for, among others, Seiji Ozawa, James Levine, Andre Previn, and Rafael Friihbeck de Burgos, and has led the Boston Symphony Chamber Players in Boston and at Tanglewood. He has also worked with Reinbert de Leeuw and Michael Tilson Thomas at the New World Symphony in Florida, and assisted Jessye Norman at the Theatre du Chatelet in the critically acclaimed Paris production of Schoenberg's Erwartung and Poulenc's La Voix humaine. In 2002 he became conductor-in- residence with the Orchestre National de Lyon under David Robertson, leading many outreach concerts and youth orchestra events in Lyon for two seasons. He has also appeared with the Orchestre de Picardie and the Orchestre Colonne in Paris. This season brings his debut with the Ensemble InterContemporain, and his subscription series debut in April 2005 with the Boston Symphony Orchestra. Trained as a violinist, Mr. Morlot studied conducting with the late Charles Bruck at the Pierre Monteux School in Hancock, Maine, and continued his studies at the Royal Academy of Music in London. He received the Norman Del Mar Con- ducting Fellowship from the Royal College of Music, London, to work with the Royal School's Opera under the guidance of John Carewe and as assistant conductor to Sir Colin Davis on their production of Don Giovanni. Mr. Morlot maintains residences in Lyon and Boston.

13 <<*/;. :*'-?•*. «K

\.t: Support a new era at the BSO

i Hffi

IHP

The 2004-2005 season marks the beginning to maintain the BSO's place as one of an exciting new era of music- of the world's leading symphonic making at the Boston Symphony organizations. Orchestra! This season, become a Friend of the As we welcome Music Director Boston Symphony Orchestra. Ticket James Levine,you can play an sales cover only 40 percent of the

important role in helping the BSO's costs each year. Your contri- Boston Symphony achieve new bution will support Mr. Levine's artistic heights. Now, more than artistic plans and the BSO's contin- ever before, the orchestra depends uing education and community

on the generosity of its patrons to outreach programs.

provide critical financial support

To make a gift, call the Friends o riends OF THE BOSTON SYMPHONY ORCHESTRA the BSO Office at (617) 638-9276 or visit us online at www.bso.or Don Quixote in Music by Helen M. Greenwald

On Thursday, Friday, and Saturday, February 10, 11, and 12, the eminent Spanish conductor Rafael Friihbeck de Burgos leads the BSO in a program of two works inspired by Cervantes' "Don Quixote de la Mancha"—Richard Strauss s orchestral tone poem "Don Quixote"featuring cellist Steven Isserlis and BSO principal violist Steven Ansell, and the little-known "Master Peter's Puppet Show" of Manuel de Falla, to feature the Bob Brown Puppets, soprano Awet Andemicael as The Boy, tenor Peter Bronder as Master Peter, and baritone Jonathan Lemalu as Don Quixote. Tickets are available by phone, online, by mail, or in person at the Symphony Hall box office (see page 71 of this program book).

"I have decided that Don Quixote shall stay buried in the archives of La

Mancha till heaven provides someone to adorn him with all the jewels he

lacks; for I find myself incapable of supplying them because of my inade- quacy and scanty learning, and because I am too spiritless and lazy by nature to go about looking for authors to say for me what I can say myself without them." —Miguel de Cervantes Saavedra, Prologue to The Adventures of Don Quixote, Part I (1604)

Cervantes, of course, had plenty to say—about a thousand pages worth in two parts, the first published in 1604 and the second in 1614, the year before he died. Little could he have imagined that by the end of the seventeenth century, Don Quixote would escape "the archives of La Mancha" only to reappear in dozens of musical retellings in myriad guises and many languages. It may even be fair to say that the world has come to know Quixote's earnest foolishness, imperfect humanity, capacity for romantic love, and numerous comical (and often bizarre) adventures as much through music as through Cervantes' prose. In this way, Don Quixote joins other figures born in literature, like Don Juan (also a 17th-century Spanish nobleman) and Faust, who have surpassed mere celebrity to achieve iconic status through their ability to communicate shared beliefs and experience while making a universal statement about the human condition.

The theater has been the principal transmitter of the novel's most familiar episodes, beginning with Carlo Sajon's 1680 Venetian opera, // Don Chisciot delta Mancia. This was

followed almost immediately by J. P. Fortsch's opera Der irrende Ritter Don Quixotte (Ham- burg, 1690) and Thomas D'Urfey's play, Comi- cal History of Don Quixote (London, 1694), with incidental music by Henry Purcell. The images that have found a stable place in contemporary popular culture—Don Quixote battling with sheep, jousting with windmills, and declaiming rhapsodically about Dulcinea—were already celebrated in the eighteenth century in works such as Giovanni Paisiello's 1769 opera buffa, Don Chisciotte. Many operas would follow, including those by Caldara (1727), by Salieri (1771), and even by Mozart's first Tamino, Bene- dict Schack (1785). 19th-century composers continued to write "Quixote" operas, although such efforts by Mendelssohn (1827) and Doni- Miguel de Cervantes Saavedra zetti (1833) are not especially well-known. Com- (1547-1616) posers would soon find other ways to stage Qui-

15 — —

xote. By the second half of the nineteenth century Offenbach would write a pantomime (1874) and de Koven an operetta (1889); and the century would close with a remarkable orchestral realization of the story in Richard Strauss's tone poem (1898). Diversity would become the rule: in the twentieth century, Korngold composed piano pieces (1908), Massenet an opera (1910), and Falla a musical puppet show (1923). A film was inevitable, and G.W. Pabst asked four composers Ibert, Milhaud, Delannoy, and Ravel—to submit music for his Adventures of Don Quixote, released in 1933 and made famous by its star, the renowned Russian bass Fyodor Chaliapin. Ibert's music was eventually chosen for the film, while Ravel's Don Quichotte a Dulcinee, comprising the three songs written in response to Pabst's request, stands as his final work. Catalan composer Roberto Gerhard devoted years (1940-47) to Quixote through ballet, a chamber orchestra suite, a symphonic suite, and some incidental music for a radio play, reinterpreting Cervantes' doleful equestrian as the "Knight of the Hidden Images." And finally, not to be forgotten, there's the 1973 musical, Man of La Mancha, adapt- Richard Strauss ed from Cervantes by Dale Wasserman with lyrics (1864-1949) by Joe Darion and music by Mitch Leigh.

February 10-12, in a single program, the Boston Symphony Orchestra pairs two quite different musical portraits of the "Knight of the Doleful Countenance"—Richard Strauss's Don Quixote and the remarkable El retablo de Maese Pedro ("Master Peter's Puppet Show") of Manuel de Falla, the latter (in Falla's own words) an "Adaptacion musical y escenica" (musical adaptation and staging) featuring singing and miming puppets and a lovely instrumental complement of winds, horns, strings, harpsichord, pedal-harp, and lots of percussion. Both works draw on different episodes from the novel, but their shared and more profound mission is to explore character, here one of exceptional emotional power.

Strauss called his orchestral tone poem "Fantastic variations on a theme of knightly character"; here the pairing of solo cello (representing the Don himself) and viola (the principal instrument representing

Sancho Panza) suggests still further designations perhaps of "concertante" in the Mozartian sense, or even "double concerto" in the Brahmsian sense. Don Quixote is not a humorous work in the antic way of

Strauss's earlier Till Eulenspiegel. In fact, it originally took form as a "satyr play" to his semi-autobio- graphical tone poem Ein Heldenleben ("A Hero's Life"), which he was thinking about at the same time. Strauss felt rather strongly that Don Quixote could only be best understood "at the side of Heldenleben" Manuel de Falla and referred to it as a "battle of one theme against (1876-1946) nullity." His virtuoso score is tremendously theatrical and filled with cacophonous moments that depict the "madness" of the protagonist and the futility of his ill-conceived adventures. Despite such good intentions, however, it premiered to angry critical reception, including that of Boston critic J.F. Runciman, who declared, "If ever this kind of music becomes acceptable to the people at large, then may I not be here to see and hear."

16 an assemblage of splendors

four world-class halls under one roof

constellationcenter performing and cinematic arts

ambridge, Massachusetts

For more information please visit our website www.constellationcenter.org Meticulously designed to hold art, culture,

and your undivided attention.

PIEIM

Discover the new Peabody Essex Museum of art and culture. Peabody Essex The Peabody Essex Museum in Salem, 200 years. You can journey from an

MA, has undergone an exciting trans- 18th-century Chinese merchant's Museum formation. In new and revitalized gallery house to contemporary painting to

spaces, all of our collections are on view New England art and culture, making for the first time, including many works surprising connections along the way.

that have been hidden away for over

Salem, 866-745-1876 pem.org daily 10am to | Open MA | 5pm | Strauss might have had a good chuckle over that one, since he so thoroughly enjoyed the oddities of his own composition, even writing to his mother after the Hamburg performance of April 5, 1900, about how the "brilliant" horn players used empty beer bot- tles as mutes! Of course, the work is highly regarded today, and especially among cel- lists, for whom it has become a badge of honor, a proof of technical virtue. More than that, however, it demonstrates the performer's ability to communicate the pathos of Don Quixote and his tragic, yet bittersweet, demise.

Falla's El retablo de Maese Pedro is a unique contribution to what Falla scholar Carol Hess calls "Quijotismo." This extraordinary little gem is essentially a piece of chamber music in an exceptionally rich and theatrical musical cloak, a play within a play, where the spectators whom we observe view- ing the puppet show are themselves puppets! Moreover, as Falla notes in his score, "the fig- ure of Don Quixote should be at least twice as large [or much taller] than the others." And, delightfully, once the characters enter Master Peter's inn and are seated for the show, "the visible objects [should be] Don Quixote's legs. These, which are very long, and odd in appearance, can be seen throughout the play, either stretched out in front of him or lying one upon the other."

The show to be viewed by the puppets is "The Liberation of Melisendra," a tale from the time of Charlemagne that Cervantes absorbed into Chapter 26 of Part II of his novel. Falla's narrator is a young boy, who, as Falla The Bob Brown Pu ets describes in his performance notes, must have PP a voice "which is nasal and rather forced—the voice of a boy shouting in the street, rough in expression and exempt from all lyrical feeling." El retablo de Maese Pedro includes a Proclamation, a Sinfonia, numerous dance-like interludes, songs, and a number of comical interruptions by Don Quixote, whose legs play a notable role. The sonority of the work is both ancient and modern; the harpsichord dominates, but the harmonies speak for the twentieth century without veiling the aura of antiquity. In the end, over- come by his chivalric sensibility, Quixote destroys the puppet theater, and waxes elo- quent in a vision of his beloved Dulcinea.

Helen M. Greenwald teaches at the New England Conservatory of Music, where she was Chair of the Department of Music History and Musicology from 2000 to 2003. Besides her publications in scholarly journals, she has spoken to international audiences about Mozart, Verdi, Puccini, and Wagner. She has written notes for the Boston Symphony Orchestra, Lyric Opera of Chicago, New York City Opera, and the Maggio Musicale Fiorentino, and is currently co-editor of the critical edition of Rossini's opera Zelmira.

17 HSl

Welch & Forbes llc

INVESTMENT 45 SCHOOL STREET

PROFESSIONALS BOSTON, MA 02108 T: 6i7.523.l635

RICHARD P. YOUNG

I-MtKSl DKNT

M. LYNN BRENNAN

PETER P, BROWN

PAMELA R.. CHANG

THOMAS N. DABNEY

PAUL R. DAVIS

JOHN H. EMMONS, JR.

CTTARLES T. IIAYDOCK

ARTHUR C. HODGES

KATHLEEN B. MUfiPHI

THEODORE E. OBER

RICHARD OLNEY III

P, ERTC ROBB

ADRTENNE G. STLBERMANN Investment Management and OLIVER A. SPALDING

BENJAMIN J. WILLIAMS, JR. Fiduciary Services since 1838

ONE LIBERTY SQUARE • BOSTON • 02109 • 617-350-6070 Best Custom Shirts - Boston Magazine, 1998 Best Classic American Suits- Boston Magazine, 1999 Best Men's Suits- Improper Bostoman, 2000 Best Power Ties-Improper Bostorciaw, 2001 Serving The Financial District Since 1933

18 JAMES LEVINE With the 2004-2005 season, James Levine becomes Music Director of the Boston Symphony Orchestra. Named Music Director Designate in October 2001, he is the orchestra's fourteenth music director since the BSO's founding in 1881, and the first American-born conductor to hold that position. Mr. Levine opened his first season as BSO Music Director in October with Mahler's Eighth Symphony, the first of a dozen programs in Boston, three of which—the Mahler Eighth, Berlioz's Romeo et Juliette, and a program of Harbison, Stravinsky, Wuorin- en, and Brahms—also go to Carnegie Hall in New York.

\ In addition, Mr. Levine appears at Symphony Hall as pianist with the Boston Symphony Chamber Players and in an all-Schubert four-hand recital with Evgeny Kissin (a program also to be played at Carnegie Hall) and will lead concerts at Tanglewood in July with both the Boston Symphony and the Tanglewood Music Center Orchestra. Maestro Levine made his Boston Symphony debut in April 1972, with a program including Mozart's Hajfner Symphony, Mendelssohn's Violin Concerto, and the Mussorgsky/Ravel Pictures at an Exhibition, and his Tanglewood debut that same summer, in music of Mozart and the Tanglewood premiere of Mahler's Symphony No. 6. He has since conducted the orchestra in repertoire ranging from Haydn, Mozart, Schu- mann, Brahms, Dvorak, Verdi, Mahler, and Debussy to music of John Cage, Elliott Carter, John Harbison, Gybrgy Ligeti, Roger Sessions, and Charles Wuorinen. In addition to such classic works as Mozart's Prague, Beethoven's Eroica, and Schubert's Great C major sym- phonies, his programs this season include concert performances of Wagner's Derfliegende Hollander, 20th-century masterpieces by Bartok, Carter, Ives, Messiaen, Schoenberg, and Stravinsky (among others), and the world premieres of new works commissioned by the BSO from Milton Babbitt, Harbison, and Wuorinen.

In the 33 years since his Metropolitan Opera debut, James Levine has developed a relationship with that company that is unparalleled in its history and unique in the musical world today. He conducted the first-ever Met performances of Mozart's Idomeneo and La clemenza di Tito, Gershwin's Porgy and Bess, Stravinsky's Oedipus Rex, Verdi's / vespri siciliani, I lombardi, and Stiffelio, Weill's Rise and Fall of the City ofMahagonny, Schoen- berg's Erwartung and Moses und Aron, Berg's Lulu, Rossini's La Cenerentola, and Berlioz's Benvenuto Cellini, as well as the world premieres of John Corigliano's The Ghosts of Ver- sailles and John Harbison's The Great Gatsby. All told, he has led more than 2,000 performances of 80 different operas there. This season at the Met he conducts 48 performances of eight operas (including Otello, Carmen, Pelleas et Melisande, Le nozze di Figaro, Nabucco, La clemenza di Tito, and new productions of Die Zauberflbte and Faust) and the company's annual Pension Fund concert, a gala in May for the 50th anniversary of Mi- rella Freni's stage debut. Mr. Levine inaugurated the "Metropolitan Opera Presents" television series for PBS in 1977, founded its Young Artist Development Program in 1980, returned Wagner's complete Der Ring des Nibelungen to the repertoire in 1989 (in the Met's first integral cycles in 50 years), and reinstated recitals and concerts with Met artists at the opera house—a former Metropolitan tradition. Expanding on that tradition, he and the MET Orchestra began touring in concert in 1991, and have since performed around the world, including at Expo '92 in Seville, in Japan, on tours across the United States and Europe, and each year during and after the opera season on the orchestra's own subscription series at Carnegie Hall. Since 1998, Maestro Levine has led the MET Chamber Ensemble in three concerts annually at Carnegie's Weill Hall, now including performances at the new Zankel Hall there. He also gives a master class this season at Zankel Hall for the Marilyn Home Foundation, leads the Chicago Symphony in that orchestra's annual Pension Fund Concert, and returns to the Cincinnati May Festival for Berlioz's Requiem.

19 The World's Greatest Musicians. The World's Greatest City. The World's Finest Piano.

M. Steinert & Sons salutes the Boston Symphony Orchestra artists who choose to own and perform on Steinway Pianos.

James Levine Alfred Brendel Yefim Bronfman Richard Goode Stephen Hou;

Evgeny Kissin Stephen Kovacevich Robert Levin Peter Serkin

fP M. Steinert & Sons « « Steinway & Other Pianos Of Distinction

162 Boylston Street, Corner of Charles Street, Boston 617-426-1900 Sherwood Plaza, Route 9 East, Natick 508-655-7373

1 Gold Star Boulevard, Worcester 508-755-2506

20 Outside the United States, Mr. Levine's activities are characterized by his intensive and enduring relationships with Europe's most distinguished musical organizations, especially the Berlin Philharmonic, the Vienna Philharmonic, and the summer festivals in Salzburg (1975-1993) and Bayreuth (1982-98). He has been music director of the UBS Verbier Festival Orchestra since its founding in 2000 and, before coming to Boston, was chief conductor for five seasons of the Munich Philharmonic. In the United States he led the Chicago Symphony Orchestra for twenty summers as music director of the Ravinia Festival (1973-1993) and, concurrently, was music director of the Cincinnati May Festi- val (1973-1978). In addition to his many recordings with the Metropolitan Opera and the MET Orchestra, he has amassed a substantial discography with such leading ensembles as the Berlin Philharmonic, Chicago Symphony, London Symphony, Philharmonia Orches- tra, Munich Philharmonic, Dresden Staatskapelle, Philadelphia Orchestra, and Vienna Philharmonic. Over the last thirty years he has made more than 200 recordings of works ranging from Bach to Babbitt. Maestro Levine is also active as a pianist, performing chamber music and in collaboration with many of the world's great singers.

Born in Cincinnati, Ohio, on June 23, 1943, James Levine studied piano from age four and made his debut with the Cincinnati Symphony at ten, as soloist in Mendelssohn's D minor piano concerto. He was a participant at the Marlboro Festival in 1956 (including piano study with Rudolf Serkin) and at the Aspen Music Festival and School (where he would later teach and conduct) from 1957. In 1961 he entered the Juilliard School, where he studied conducting with Jean Morel and piano with Rosina Lhevinne (continuing on his work with her at Aspen). In 1964 he took part in the Ford Foundation-sponsored "American Conductors Project" with the Baltimore Symphony Orchestra and Alfred Wal- lenstein, Max Rudolf, and Fausto Cleva. As a direct result of his work there, he was invited by George Szell, who was on the jury, to become an assistant conductor (1964- 1970) at the Cleveland Orchestra—at twenty-one, the youngest assistant conductor in that orchestra's history. During his Cleveland years, he also founded and was music director of the University Circle Orchestra at the Cleveland Institute of Music (1966-72).

James Levine was the first recipient, in 1980, of the annual Manhattan Cultural Award, and was presented with the Smetana Medal by the Czechoslovak government in 1986, following performances of the composer's Md Vlast in Vienna. He was the subject of a Time cover story in 1983, was named "Musician of the Year" by Musical America in 1984, and has been featured in a documentary in PBS's "American Masters" series. He holds honorary doctorates from the University of Cincin- nati, the New England Conser- vatory of Music, Northwestern University, the State Univer- sity of New York, and the Juil- liard School. Mr. Levine is the recipient in recent years of the Award for Distinguished Achievement in the Arts from New York's Third Street Music School Settlement; the Gold Medal for Service to Humanity from the National Institute of Social Sciences; the Lotus Award ("for inspiration to young musicians") from Young Concert Artists; the Anton Seidl Award from the Wagner Society of New York; the Wilhelm Furtwangler Prize from Baden-Baden's Committee for Cultural Advancement; the George Jellinek Award from WQXR in New York; the Goldenes Ehrenzeichen from the cities of Vienna and Salzburg; the Crystal Award from the World Economic Forum in Davos, Switzerland; and America's National Medal of Arts and Kennedy Center Honors.

21 *Aza Raykhtsaum Ronald Wilkison David and Ingrid Kosowsky Michael Zaretsky chair Marc Jeanneret *Bonnie Bewick *Mark Ludwig Theodore W. and Evelyn Berenson Family chair * Rachel Fagerburg *James Cooke *Kazuko Matsusaka Stephanie Morris Marryott and * Rebecca Gitter Franklin J. Marryott chair * Victor Romanul Cellos BOSTON SYMPHONY Bessie Pappas chair Jules Eskin ORCHESTRA * Catherine French Principal 2004-2005 Catherine and Paul Buttenwieser Philip R. Allen chair, endowed chair in perpetuity in 1969 James Levine *Kelly Ban- Martha Babcock Music Director Mary B. Saltonstall chair Assistant Principal Ray and Maria Stata *Alexander Velinzon Vernon and Marion Alden chair, Music Directorship, Kristin and Roger Servison chair endowed in perpetuity fullyfunded in perpetuity *Polina Sedukh in 1977 Donald C. and Ruth Brooks Sato Knudsen Bernard Haitink Heath chair, fullyfunded in Mischa Nieland chair, Conductor Emeritus perpetuity fullyfunded in perpetuity LaCroix Family Fund, Mihail Jojatu fullyfunded in perpetuity Second Violins Sandra and David Bakalar chair Seiji Ozawa Haldan Martinson Luis Leguia Music Director Laureate Principal Robert Bradford Newman chair, Carl Schoenhof Family chair, fully funded in perpetuity First Violins fullyfunded in perpetuity *Jerome Patterson Malcolm Lowe Vyacheslav Uritsky Lillian and Nathan R. Miller Concertmaster Assistant Principal chair Charles Munch chair, Charlotte and Irving W. Rabb *Jonathan Miller fullyfunded in perpetuity chair, endowed in perpetuity Charles and JoAnne Dickinson Tamara Smirnova in 1977 chair Associate Concertmaster Ronald Knudsen *0wen Young Helen Horner Mclntyre chair, Edgar and Shirley Grossman John F. Cogan, Jr., and Mary L. endowed in perpetuity in 1976 chair Cornille chair, fullyfunded in Juliette Kang Joseph McGauley perpetuity Assistant Concertmaster Shirley and J. Richard Fennell * Andrew Pearce Robert L. Beal, Enid L., and chair, fullyfunded in perpetuity Stephen and Dorothy Weber chair Bruce A. Beal chair, endowed in Ronan Lefkowitz * Mickey Katz perpetuity in 1980 David H. and Edith C. Howie Richard C. and Ellen E. Paine Elita Kang chair, fullyfunded in perpetuity chair, fullyfunded in perpetuity Assistant Concertmaster *Sheila Fiekowsky Edward and Bertha C. Rose *Jennie Shames Gordon and Mary Ford Kingsley chair * Valeria Vilker Kuchment Family chair Bo Youp Hwang *Tatiana Dimitriades John and Dorothy Wilson chair, Basses *Si-Jing Huang fullyfunded in perpetuity Edwin Barker * Lucia Lin Nicole Monahan Principal Forrest Foster Collier chair * Wendy Putnam Harold D. Hodgkinson chair, Ikuko Mizuno *Xin Ding endowed in perpetuity in 1974 Dorothy Q. and David B. Arnold, Lawrence Wolfe Jr., chair, fullyfunded in Violas Assistant Principal perpetuity Steven Ansell Maria Nistazos Stata chair, in perpetuity tAmnon Levy Principal fullyfunded Muriel C. Kasdon and Charles S. Dana chair, Joseph Hearne Marjorie C. Paley chair endowed in perpetuity in 1970 Leith Family chair, *Nancy Bracken Cathy Basrak fullyfunded in perpetuity Ruth and Carl J. Shapiro chair, Assistant Principal Dennis Roy fullyfunded in perpetuity Anne Stoneman chair, Joseph and Jan Brett Hearne fullyfunded in perpetuity chair Edward Gazouleas John Salkowski * Participating in a system Lois and Harlan Anderson chair, Erich and Edith Heymans chair of rotated seating fullyfunded in perpetuity *James Orleans t On sabbatical leave Robert Barnes °0n leave § Substitute player

22 *Todd Seeber Bassoons Bass Trombone Eleanor L. and Levin H. Richard Svoboda Douglas Yeo Campbell chair, fully funded Principal John Moors Cabot chair, in perpetuity Edward A. Taft chair, endowed fully funded in perpetuity *John Stovall in perpetuity in 1974 * Benjamin Levy Suzanne Nelsen Tuba John D. and Vera M. Mike Roylance Flutes MacDonald chair Margaret and William C. Elizabeth Rowe Richard Ranti Rousseau chair, fully funded Principal Associate Principal in perpetuity Walter Piston chair, endowed Diana Tottenham chair in perpetuity in 1970 Timpani Fenwick Smith Contrabassoon Timothy Genis Myra and Robert Kraft chair, Gregg Henegar Sylvia Shippen Wells chair, endowed in perpetuity in 1 981 Helen Rand Thayer chair endowed in perpetuity in 1974 Elizabeth Ostling Associate Principal Horns Percussion Marian Gray Lewis chair, James Sommerville Thomas Gauger fully funded in perpetuity Principal Peter and Anne Brooke chair, Helen Sagoff Slosberg/Edna fullyfunded in perpetuity Piccolo S. Kalman chair, endowed $Frank Epstein in perpetuity in 1974 Peter Andrew Lurie chair, Evelyn and C. Charles Marran Richard Sebring fully funded in perpetuity chair, endowed in perpetuity in Associate Principal J. William Hudgins 1979 Margaret Andersen Congleton Barbara Lee chair §Linda Toote chair, fully funded in perpetuity Daniel Katzen Assistant Timpanist Oboes Elizabeth B. Storer chair, Mr. and Mrs. Edward H. Linde John Ferrillo fully funded in perpetuity chair Principal Jay Wadenpfuhl Mildred B. Remis chair, endowed John P. II and Nancy S. Eustis Harp in perpetuity in 1975 chair, fullyfunded in perpetuity Ann Hobson Pilot Mark McEwen Richard Mackey Principal James and Tina Collias chair Hamilton Osgood chair Keisuke Wakao Jonathan Menkis Voice and Chorus Assistant Principal Jean-Noel and Mona N. John Oliver Elaine and Jerome Rosenfeld Tariot chair Tanglewood Festival Chorus chair Conductor

Trumpets Alan J. and Suzanne W. Dworsky English Horn Charles Schlueter chair, fullyfunded in perpetuity Robert Sheena Principal Beranek chair, fully funded Roger Louis Voisin chair, Librarians in perpetuity endowed in perpetuity in 1977 Marshall Burlingame Peter Chapman Principal Clarinets Ford H. Cooper chair Lia and William Poorvu chair, William R. Hudgins Thomas Rolfs fully funded in perpetuity Principal Associate Principal William Shisler Ann S.M. Banks chair, endowed Nina L. and Eugene B. Doggett John Perkel in perpetuity in 1977 chair Scott Andrews Benjamin Wright Assistant Conductors Thomas and Dola Sternberg Rosemary and Donald Hudson Jens Georg Bachmann chair chair Anna E. Finnerty chair, Thomas Martin fullyfunded in perpetuity Associate Principal & Trombones Ludovic Morlot E-flat clarinet Ronald Barron Stanton W and Elisabeth K. Principal Davis chair, in Personnel Managers fully funded J. P. and Mary B. Barger chair, perpetuity fully funded in perpetuity Lynn G. Larsen Norman Bolter Bruce M. Creditor Bass Clarinet Arthur and Linda Gelb chair Craig Nordstrom Stage Manager Farla and Harvey Chet John Demick Krentzman chair, fully funded in perpetuity

23 Listening to Girls

Each year thousands of people come to Tae Kwon Do. They write short stories, con- the symphony to listen. They come to duct complex scientific experiments, build

hear the orchestra fill this hall with the software programs, and plan study-abroad

world's most glorious music. To be still and trips. They look forward to college as a place to listen—that is a powerful thing. This hall, to learn and gain new levels of competence.

after all, is conducive to the pleasures of lis- In the quiet, girls acquire confidence and tening. Elsewhere, to turn off the din and strength. They begin to dream big dreams. truly listen—well, that is more of a challenge. Listen to what girls in girls' schools say. Listen

The voices of girls are especially hard to to the ideas they have for history projects.

hear, particularly through the cacophony of Listen to their opinions on computer game

what our culture is saying to them. Here's violence, or censorship, or biotechnology.

what to wear, here's how to look, here's how Listen to how they discuss art and music and

you should think. Don't ask too many ques- politics. It is amazing what girls can do when tions. Don't talk back. Your appearance is we respect their opinions. They will organize

more important than your programming community service projects and learn new

skills and your writing. Choose your college languages. They will publish magazines and

based on your boyfriend. start businesses. Look at the machines they

build. Look at the presentations they put What do girls themselves have to say? together. Listen to the music they compose. Younger girls, before they reach adolescence, They will, in the quiet, learn to excel. typically have a lot to say. They know what

they want. Their voices are clear. But as girls We listen to girls at Miss Hall's School enter their teens, we hear them less clearly. We turn down the noise and listen. In this Often their voices grow smaller as they try to space apart, we give girls the opportunity to make sense of the world and discover the be heard, to be leaders, to develop their true girl inside. Sometimes their voices own voices, their own ideas, their own change—and we no longer recognize them. visions of who they want to be. And sud-

But when we create some quiet, girls' voices denly it's not so quiet anymore but filled

grow stronger. In a girls' school, girls become with the joyful music of young women adventurous. They take up rock climbing and becoming themselves.

MISS HALL'S SCHOOL

492 Holmes Road, Pittsfield, MA 01201 • (800) 233-5614 • Fax (413) 448-2994 • www.misshalls.org

GIRLS' SECONDARY pOARDING AND DAY SCHOOL FOUNDED IN 1898

24 BOSTON SYMPHONY ORCHESTRA

James Levine, Music Director Bernard Haitink, Principal Guest Conductor Seiji Ozawa, Music Director Laureate 124th Season, 2004-2005

Thursday, January 27, at 8 Friday, January 28, at 8 Saturday, January 29, at 8

Tuesday, February 1, at 8

DAVID ZINMAN conducting

GANDOLFI Impressions from "The Garden of Cosmic Speculation" (2004)

I. Introduction: The Zeroroom

II. Soliton Waves

III. The Snail and the Poetics of Going Slow

IV. The Nonsense

BART6K Piano Concerto No. 3

Allegretto Adagio religioso Allegro vivace RICHARD GOODE

INTERMISSION

MUSSORGSKY/ Pictures at an Exhibition RAVEL Promenade Gnomus Promenade

II vecchio castello Promenade — Tuileries Bydlo Promenade — Ballet of Chicks in their Shells Samuel Goldenberg and Schmuyle The Market at Limoges Catacombae. Sepulcrum Romanum Con mortuis in lingua mortua The Hut on Chicken Legs (Baba-Yaga) The Great Gate of Kiev

UBS is proud to sponsor the BSO's 2004-2005 season.

These concerts will end about 10. Steinway and Sons Pianos, selected exclusively at Symphony Hall

Special thanks to Delta Air Lines, The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation IN CONSIDERATION OF THE PERFORMERS AND THOSE AROUND YOU, PLEASE BE SURE TO SWITCH OFF CELLULAR PHONES, WATCH ALARMS, AND ALL OTHER ELECTRONIC BEEPERS.

25 Week 13

I £A'Y: -Rit illKvfKfiW\ ft

NEW ENGLAND CONSERVATORY

It's about"! the. US1C

Congratulations

NEC faculty Michael Gandolfi on the Symphony Hall premiere of Impressions from The Garden of Cosmic Speculation

January 28/29, February 1

For complete concert info and to sign up for our free e-newsletter, visitwww.newenglandconservatory.edu

Free concerts almost every night of the year. Located just one block from Symphony Hall at 290 Huntington Ave.

26 Michael Gandolfi Impressions from "The Garden of Cosmic Speculation" (2004)

Michael Gandolfi was born in Melrose, Massachusetts, on July 5, 1956, and lives in Cambridge, Massachu- setts. He wrote the orchestral piece Impressions from "The Garden of Cosmic Speculation" during the first half of2004 to fulfill a commission from the Tanglewood Music Center with support from the Paul Jacobs Mem- orial Fund. The inspiration for the piece is the book "The Garden of Cosmic Speculation" by architect Charles Jencks, an extensive photographic documentation of a Scottish garden designed by Jencks. Robert Spano conducted the Tanglewood Music Center Orchestra in the first performance of Impressions from "The Garden of Cosmic Speculation" on August 16, 2004, in Seiji Ozawa Hall at Tanglewood, during that summers Festi- val of Contemporary Music. These are the first performances by the Boston Symphony Orchestra. The only previous work by Michael Gandolfi to have been performed by the BSO was his "Points of Departure," which Spano conducted at Symphony Hall in April 1998. Impressions from "The Garden of Cosmic Speculation" calls for an orchestra of three flutes (third doubling piccolo), three oboes (third doubling English horn), three clarinets in B-fiat (third doubling bass clarinet), three bassoons (third doubling contrabassoon), four horns, three trumpets, two trombones, bass trombone, tuba, timpani, percussion (three players minimum: xylophone, crotales [two-octave set], glockenspiel, tubular bells, three suspended cymbals, small splash cymbal, crash cymbal, four tom-toms, bass drum, brake drum, agogo [African bell], tambourine, slapstick, sleigh bells, triangle), harp, piano, and strings. The piece is about twenty-one minutes long.

Michael Gandolfi grew up in a musical environment in which his two older sisters were fine pianists performing traditional classical repertoire. Gandolfi took up the guitar and began to play rock and jazz; he started to compose in high school, writing for what- ever ensemble or group of friends was available. His early efforts earned him awards from ASCAP and the American Society of University Composers, as well as a fellowship to the Yale Summer School of Music and Arts.

In 1986 Gandolfi was a Composition Fellow at Tanglewood, where he won the first of the prestigious Paul Jacobs commissions to write a large ensemble work for performance by the Tanglewood Music Center Orchestra. (This was his piece Transfigurations, which was premiered the following year.) At Tanglewood he met and became friendly with British composer/conductor Oliver Knussen, who was that summer's director of the Festi- val of Contemporary Music. Knussen began to champion Gandolfi's works, introducing Transfigurations to the BBC's radio orchestra and conducting others of the composer's works in Britain and the United States. In addition, Gandolfi returned often to Tangle- wood, being hired on as a guitarist to perform in new works as needed, including Stock- hausen's Gruppen and Knussen's Third Symphony.

By the late 1980s Gandolfi had already made contact with many new-music performers, with such groups as Speculum Musicae and the Orpheus Chamber Orchestra; other orchestras and ensembles also began to take notice of Gandolfi's music. Orpheus led a consortium, also including the Saint Paul and Los Angeles chamber orchestras, to commission Gandolfi's Points of Departure, a piece that has since been performed quite frequently (the Boston Symphony Orchestra played it under Robert Spano in April 1998). He has also received commissions from Boston Musica Viva, Speculum Musicae, and the Koussevitzky Foundation, among many others. While fulfilling commissions, Gandolfi was also teaching: he taught at Harvard and has taught at both Phillips Academy in

27 Week 13 oldwell Banker Previews &w&/3&£7/ga%C

LEXINGTON, MA LEXINGTON, MA $2,188,000

Builder's own magnificent estate set on over '. stunning A touch of Beacon Hill in Lexington Center. Two-year old

land with specimen plantings. Elegant two-: custom Colonial exquisitely designed and sited to blend with

two Palladian windows, historic Boston and compliment other gracious homes on Meriam Hill.

circular drive, and 3-car attached garage, Features over 5,000 square feet of living space on four levels and details. Judy Alexander, Lexington, MA with easy to care for grounds. Phyllis Reservitz, Lexington, MA

2844, [email protected] office, (617) 966-1919, [email protected]

NORWELL, MA $1,975,000 Spectacular five-bedroom home on 13.76 acres, designed for

elegant entertaining and easy living. Dramatic marble foyer and

grand staircase, formal living and dining rooms, in-ground

heated pool, mahogany decks. Amenities include a high-tech

home theater, wine room and a home gym. Liz McCarron,

Norwell, MA office, (781) 659-7955, [email protected]

NEWTON, MA $3,000,000

Located on one of Newton's most coveted streets, on 2 acres of

land, this gracious 12-room Colonial provides an opportunity

to live close to Boston in private surroundings. Also available

is a 25,041 -square-foot buildable lot for $1,000,000. Survey/topographical studies completed. Susan Heyman and

Toby Klebenov, Newton, MA office, (617) 969-2447. KflB

(800) 548-5003 coldwell Banker Previews.NewEnglandMoves.com ^jjjgj & Andover, MA, and at the New England Conservatory for several years. He has been a member of the Tanglewood Music Center faculty since 1997.

The breadth of Gandolfi's musical interests encompasses not only contemporary concert music, but also the jazz, blues, and rock by which route he first became a musician. The breadth of his musical investigation is paralleled by his cultural curiosity, resulting in many points of contact between the world of music and other disciplines, including science, film, and theater. He has collaborated with Shakespeare & Co., composing incidental music for their production of A Midsummer Night's Dream directed by Tina Packer, and recently he worked with filmmaker Pamela Larsen. As an educator, he has expanded on these interests by organizing innovative, cross-disciplinary activities involv- ing collaborations between TMC Fellows and Shakespeare & Co. and a project bringing together composers and experimental filmmakers at Tanglewood.

Michael Gandolfi's current projects include a saxophone concerto for Kenneth Radnof- sky and the Boston Modern Orchestra Project, works for Boston Musica Viva and Collage New Music, a piece for piano and orchestra for the London Sinfonietta, and a solo piano work for Sergey Schepkin, to be premiered this spring on Schepkin's April 2005 Fleet- Boston Celebrity Series recital. His Vientos y Tangos (2002), a work for symphonic wind ensemble commissioned by the Frank Battisti 70th Birthday Commission Project, has already received numerous performances; a full-orchestra version was premiered in Italy in fall 2004. Notes from Childhood, completed in 2002, was commissioned by the Melrose Symphony Orchestra in his hometown of Melrose, Massachusetts.

Gandolfi's new orchestral piece Impressions from "The Garden of Cosmic Speculation" was inspired by the Portrack Garden, a thirty-acre private garden in the Borders area of Scotland, as described in architect Charles Jencks's book on Jencks's design and philosophical concept for that garden. Jencks first made an international name for himself as an architectural critic; his book The Language of Post-Modern Architecture is widely

We're trusted by generations to advise generations.

We're Derby and Company. We have built long-lasting relationships with individuals and families who have trusted us to preserve, manage and grow their wealth.

When you choose us, we listen, we understand, and we work with you to design an investment program that meets your unique needs. <&& m Burt Derby Mark Derby Jonathan Derby Derby and Company Investment, Trust and Retirement Services

7 Wells Ave., Newton, MA 02459 • 617-527-0033 www.derbyandcompany.com

29 urnm- OR LIFE

Life Care Center Life Care Center Life Care Center Whytebrook Terrace ofAttleboro of Merrimack Valley of the South Shore 401-233-2880 508-222-4182 978-667-2166 781-545-1370 Life Care Center Life Care Center Life Care Center Life Care Center ofWilbraham of Auburn of Nashoba Valley of Stoneham 413-596-3111 508-832-4800 978-486-3512 781-662-2545 Life Care at Home, Cherry Hill Manor Life Care Center Life Care Home Care Nursing and of the North Shore Center 1-888-667-6878 Rehabilitation 781-592-9667 of Acton Center 978-263-9101 Life Care Center Life 401-231-3102 |a of Plymouth The Oaks Care™* Evergreen House 508-747-9800 Nursing Center Centers Health Center 508-998-7807 of America 401-438-3250 Life Care Center

of Raynham Life Care Center i TLife Care at 508-821-5700 of West Bridgewater ilOITlC 508-580-4400

Skilled Nursing Rehabilitation Long Term Care Assisted Living Home Care

30 "

credited with identifying correspondences in the "postmodern" approach among the disciplines of art, writing, and architecture. This important book was reissued in 2002 as The New Paradigm in Architecture. Jencks is currently active as author, lecturer, and designer. The Garden of Cosmic Speculation, his book about the Portrack Garden, was published by Frances Lincoln, Ltd., in 2003.

Like Jenck's garden, Michael Gandolfi's piece is a springboard for speculation. Though

inspired by Jenck's garden, Gandolfi reaches into, through, and beyond it for his own reactions to the concepts Jencks touches on, while still centering his musical reactions on the particular plots in part illustrated by his piece. Also like the garden, Impressions from "The Garden of Cosmic Speculation" is a work of transformational potential: a garden, like a piece of music, is never the same from one visit to the next, whether or not deliberate intervention on the part of the visitor or designer takes place. Plants grow ac-

cording to their own rules and schedules. As Jencks puts it, "Gardens, like cities, are

whispering games in which the key is to pass on meaning even as it changes. They may reach momentary equilibrium, but should never be pickled. Respect is shown by continuing and transforming the plots." A piece of music relies, in its finest details, on the indeterminate nature of interpretation of all of the performing participants, an interpretation that must shift each time the work is approached anew, even if by the same play-

ers: a kind of seasonal change touches the work as it "grows."

The composer's comments on Impressions from "The Garden of Cosmic Speculation" follow. —Robert Kirzinger

"The Garden of Cosmic Speculation," a thirty-acre private garden in the Borders area of Scotland created by architect and architectural critic Charles Jencks, is a joining of terrestrial nature with fundamental concepts of modern physics (quantum mechanics, super-string theory, complexity theory, etc.). In his recently published book The Garden of Cosmic Speculation, Jencks writes,

When you design a garden, it raises basic questions. What is nature, how do we fit

into it, and how should we shape it where we can, both physically and visually? Some of these questions are practical, others are philosophical, and the latter may not occur to us while laying out a garden, but they are implied. When in 1988 I started designing a garden with my wife Maggie Keswick, at her mother's house in Scotland, we were not concerned with the larger issues, but over the years, they

Michael Gandolfi on stage with conductor Robert Spano (at left) following the August 16, 2004 Tanglewood Music Center Orchestra premiere of his "Impressions from 'The Garden of Cosmic Speculation. '

31 Week 13 With financial advisors changing companies,

and companies changing owners, at the drop of a hat,

it can make you wonder

whether you should make a change, too.

KM9

Common Sense Uncommon Continuity nEKX

RESu $1 IP mi At Fiduciary Trust, our investment officers

tend to stay with us for decades.

Which may be why so many of our clients

have been with us for generations.

Please Call Gren Anderson at 617-574-3454

FIDUCIARYTRUST

Managing Investments for Families since 1885

32 came more and more to the fore. The result has been what I have called "The Garden of Cosmic Speculation." The reason for this unusual title is that we—Maggie, I, scientists, and then friends that we consulted—have used it as a spur to think about and celebrate some fundamental aspects of nature. Many of these are quite normal to a garden: planting suitable species which are both a pleasure to eat and easy to grow in a wet, temperate climate. And others are unusual: inventing new waveforms, linear twists and a new grammar of landscape design to bring out the basic ele- ments of nature that recent science has found to underlie the cosmos. These "unusual" aspects of Jencks' garden were my motivation for musical composition. I have long been interested in modern physics, and it seemed proper for music to participate in this magnificent joining of physics and architecture.

I discovered The Garden of Cosmic Speculation in January 2004 and after a month or so of sketching musical ideas decided to focus on several aspects of the garden to which

I had the strongest musical response. As I began the actual process of composition, it became clear that the vast subject matter would be best served in a series of works, which

I intend to realize over the next several years.

The "Zeroroom" is the formal entrance to the garden. It is a fanciful, surreal cloakroom flanked by an orderly procession of tennis racquets that appear to be traveling through the wall in a "quantum dance," and large photographs that progress from our place in the universe, galaxy, solar system, planet, to the precise position of the garden in the north of Scotland. At the end of this corridor is a door with a mirror under which is inscribed "IUIUIUIUEYEWEYEWEYEWEYEW." Over the mirror is a pair of eyes carved into the wood. One places one's eyes against the carved eyes for a view to the garden. The first object one sees in the garden is a yew tree. I composed a work in which a suc- cession of episodes emerges from and acquiesces to a "cosmic cloud," depicting this journey from the macro view of the universe to the micro view of the yew tree.

In many respects, The Garden of Cosmic Speculation is a garden of waves, with images of soliton waves being the most prevalent. They are found in the fine iron fencework, the small and large land sculptures, and in details of the stonework that abound in the garden. A soliton wave has the special property of being able to join with other waves, combine to create new waveforms, and then emerge completely unchanged, with no "memory" of having joined or passed through other waves. My second movement, "Soliton Waves," features many waves that are readily heard as musical ideas that pass among instrumental groups. After an initial wave courses through the orchestra from low to high, a melodic line is presented in the strings propagating smaller waves throughout

ASSISTED LIVING Welcome To Living Wel

Welcome to the region's most rejuvenating and

culturally enriching assisted living choice, where

seniors can thrive in a community that promotes

a healthy body, mind and spirit.

Call 617-527-6566 today for more information. A welcoming place for everyone

We are open to people of all nationalities. 206 Waltham Street, West Newton. MA 02465 www.slcenter.or

33 THE WALTER PISTON SOCIETY

Ca^uM amiQ/euas ^7o4l

pictured with portraits of Carlos' father and mother, Humbert and

Luisa Ardizzoni Tosi.

Carlos and Velia Tosi have a great fondness for the Symphony. "My mother, Luisa Ardizzoni Tosi, was an opera singer whose students sang on the Symphony Hall stage," said Mr. Tosi. It's easy to understand why Mr. and Mrs. Tosi chose to endow a seat in Symphony Hall in memory of their son. Their charitable gift annuity funded the seat in perpetuity. They both feel that this was a good investment. "It was the easiest decision we could have made—from the heart."

To learn more about giving opportunities that pay YOU to give,

please contact Robert Meya at (617) 638-9252 or [email protected]. You may be assured of complete confidentiality.

34 the orchestra. This "wave" has both a diatonic component and a chromatic component, each of which assumes a prominent role in two large development sections that depict the joining of soliton waves in the creation of new waveforms. Ultimately the original waveform reemerges completely unchanged.

"The Snail and the Poetics of Going Slow" is Jencks's title for a large land-object that appears as a smoothly realized turning of the earth into a spiral shape. I chose to focus on the serene quality of this majestic garden structure.

"The Nonsense" is a small building that occupies a prominent position in the garden. The front of the building was designed by James Stirling from fragments of the Neue Staatsgalerie in Stuttgart, while the back of the structure was designed by Jencks. In- scribed on the inner beams of the structure are words from Charles Baudelaire's poem Correspondences, which describes reality as a forest of symbols that mix up the senses. A quote from Jencks best describes this kinetic, post-modern structure:

Stirling's pavilion was never intended to be used, so its conversion into a lookout was functionally nonsensical; for instance, on reaching the top, the view is blocked by a beam that also makes sitting difficult. The steep stair is designed for single alternating steps, while the syncopating squares in gray also disorient the sense of

balance [...] Confusion, synaesthesia, or the correspondences between everything in the world—and yet a crystal order.

Jencks's last sentence in the quote above is a fine metaphor for the entire garden. I was so impressed by the wonderfully odd design of "The Nonsense" and its conspicu- ous position in the garden that I chose to compose a moderate-length movement representing a panoramic view of the building. The overall form of my composition is binary, which is an exact match for the external structure of the building with its overall bilat- eral symmetry. (However, the front two sides differ significantly from the rear two sides.) The building is clearly postmodern in design with strong mid-20th-century modernist overtones. I chose to incorporate references to modernist music of the mid- to late- twentieth century to match the postmodern architectural design. —Michael Gandolfi

For rates and Rockport Chamber information on advertising in the Music Festival Boston Symphony, Boston Pops, June 2-26, 2005 and Tanglewood program books www.rcmf.org please contact: Rockport, MA STEVE GANAK AD REPS David Deveau, Artistic Director

978-546-7391 (617) 542-6913, in Boston.

Concerts take place at the Rockport Art Association

35 m Bank of America a Celebrity Series Engaging Entertaining • Enriching 2004-2005

More than 48 of the world's

finest artists in classical music, dance, jazz, cabaret, and family entertainment.

Entertainment Symphony Orchestras David Sedaris Orchestre National de France Vienna Choir Boys Kurt Masur conductor Soweto Gospel Choir Jean-Yves Thibaudet piano The Chieftains Dresden Staatskapelle National Acrobats of Taiwan, R.O.C. Myung Whun Chung conductor Emanuel Ax piano Chamber Music The Kalichstein-Laredo-Robinson Trio Chamber Orchestras Tokyo String Quartet Orpheus Chamber Orchestra Emerson String Quartet (Special two-part, complete Mendelssohn cycle!) Jonathan Biss piano Beaux Arts Trio **Akademie fur Alte Musik Berlin

"Co-presented with the Boston Early Music Festival Vocalists Ben Heppner tenor Instrumentalists David Daniels countertenor

Hilary Hahn violin Renee Fleming soprano

Paquito D'Rivera clarinet and the Assads guitar duo Barbara Quintiliani soprano Los Angeles Guitar Quartet with Colin Currie percussion Chanticleer

Yo-Yo Ma cello and the Silk Road Ensemble

Itzhak Perlman violin What Makes It Great? Robert Kapilow with the Handel and Haydn Society Pianists Robert Kapilow with the Shanghai Quartet Dubravka Tomsic

Maurizio Pollini Boston Marquee

Krystian Zimerman The Boston Camerata Kurt Weill and Paul Green's JohnJohnny Johnson Lang Lang Joel Cohen music director New England String Ensemble Dance Series* Susan Davenny Wyner conductor

Bolshoi Ballet and Orchestra Raymonda and Don Quixote Max Levinson piano

Bill T. Jones/Arnie Zane Dance Company "The Phantom Project" Wendy Bryn Harmer soprano Sean Curran Company The Boston Conservatory Dance Theater Mark Morris Dance Group Sergey Schepkin piano Alvin Ailey American Dance Theater Paul Taylor Dance Company Family Musik

'co-presented with The Wang Center for the Performing Arts Saint-Saens' Carnival of the Animals and Robert Kapilow's And Furthermore, They Bite! Cabaret and Jazz Fairy Tales Inside/Out

Lincoln Center Jazz Orchestra with Wynton Marsalis The Four Seasons and special guest Dianne Reeves

Preservation Hall Jazz Band "Creole Christmas" To purchase individual tickets to any Dance Series events, Peter Cincotti please contact Telecharge.com 800-447-7400. Bernadette Peters in Concert

Call CelebrityCharge 617-482-6661 Mon - Fri, 10am - 4pm Buy online anytime www.celebrityseries.org

Major support for the 2004-2005 Celebrity Series season is provided by Bank of America. Bank of America "^^

36 Our guests can always depend on us to provide the necessities of life, like beethoven's ninth.

In a city renowned for its passionate embrace of the arts,

there is a hotel that sits at its center. The Fairmont Copley Plaza

is honored to be the Official Hotel of two of the world's

greatest orchestras, the Boston Symphony and the Boston Pops.

HOTELS & RESORTS

Places in the heart

Call your travel agent or 1 800 441 1414 www.fairmont.com

The Fairmont Copley Plaza, Boston • The Fairmont Washington D.C.

The Fairmont Olympic Hotel, Seattle • The Plaza, New York City Plus 39 other destinations in Canada, U.S., Mexico, Barbados, Bermuda and United Arab Emirates. ; -. •

Fr: knowing what's right

To: doing what's right

EMC IS COMMITTED TO THE COMMUNITIES IN WHICH WE LIVE

AND WORK. We're proud to support a growing list of causes, projects,

and events ranging from the conceit hall to the classroom. We help cus-

tomers of all sizes manage growing information through information life-

cycle management— and we're honored to do our part for the world's

knowledge, courage, respect peace, and spirit of competition.

Learn more at www.EMC.com.

2 EMC , EMC, and where information lives are registered trademarks of EMC Corporation.

'&v*'V'-«5 I I

The Boston Symphony Orchestra is a brilliant example

of how UBS builds relationships with our clients. With expertise, understanding and a commitment to

success. In music, in investments, in life. You and us. www.ubs.com

UBS is a proud season sponsor of the BSO.

Wealth I Global Asset I Investment Management I Management I Bank UBS

)UBS 2004. The key symbol and UBS are registered and unregistered trademarks of UBS. All rights reserved. Delta, the Official Airline of the Boston Symphony Orchestra, is proud to work in partnership with many exceptional arts organizations worldwide. By providing in-kind donations and company resources, we hope to keep the arts a vital part of our community

Photograph by Michael Lutch Bela Bartok Piano Concerto No. 3

Bela Bartok was born in Nagyszentmiklos, Transylvania (then part of Hungary but now absorbed into Romania), on March 25, 1881, and died in New York on Septem- ber 26, 1 945. The Piano Concerto No. 3 was composed in the summer of 1945. The last seventeen measures, left unfinished at the composers death, were filled in by Tibor Serly. The first performance was given by pianist Gyorgy Sdndor with the Philadelphia Orchestra, Eugene Orm- andy conducting, on February 8, 1946. The Boston Symphony first played this concerto in April 1965, with pianist Sidney Foster under Aaron Copland's direction. Subsequent BSO performances have featured Peter Serkin with Charles Dutoit conducting, Garrick Ohlsson with conductor Marek Janowski (the BSOs only Tanglewood performance, on August 21, 1992), and Piotr Anderszewski also with Marek Janowski (the most recent subscription performances, in December 2002). In addition to the solo piano, the score calls for two each offlutes, oboes, clarinets, and bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, side drum, cymbals, bass drum, tam-tam, xylophone, and strings.

The bitterness of Bartok's last years—compounded of exile from his homeland, a realization that America was even less interested in his music than Europe was, a difficult hand-to-mouth existence eked out from a few performance fees and research grants, and nagging ill health—was somewhat brightened by what seemed to be a sudden up- ward turn in his fortunes as a composer in what turned out to be his last months. Nothing roused him from his sickbed lethargy so effectively as the commission for an orchestral work offered by Serge Koussevitzky with the guarantee that it would be performed by the Boston Symphony Orchestra. The result, of course, was the Concerto for Orchestra, first performed in December 1944. But even before that auspicious premiere, Bartok had enjoyed the unaccustomed sound of applause from an American audience when Yehudi Menuhin gave the premiere of the Sonata for solo violin in New York. Then, after the rousing success of the Concerto for Orchestra a few weeks later, musicians began approaching him with commissions. William Primrose wanted a viola concerto; a piano duo named Bartlett and Robertson requested a concerto for two pianos. His publisher, Ralph Hawkes, asked for a seventh string quartet. And, for private reasons, he wanted to write a piano concerto. Of these four works, which might have augured a whole new stage of Bartok's career had his health been better, he never even started the two-piano concerto. The string quartet reached the stage of preliminary sketches. Bartok worked at length on the viola concerto, and even announced to Primrose that it was finished "in draft, so that only the score has to be written, which means a purely mechanical work, so to speak." (But when Tibor Serly undertook to prepare the draft for performance after

Bartok's death, it proved to be a difficult task: Bartok often sketched and rewrote over earlier passages, and his final intentions were by no means always clear. He himself could have deciphered the mass of crowded notations, but it is not likely that another could easily divine his precise intentions.) It was the piano concerto—his third—that attracted his attention during these final months, and it was this concerto that was the most completely finished of all his post-Concerto for Orchestra works.

Intended as a vehicle for his wife, Ditta Pasztory, the concerto reveals in its every measure that it is not one of the concertos Bartok composed for himself. It is altogether lighter and more transparent than either of the earlier concertos (which had been his own showpieces). Moreover, the middle section of the second movement is based on

37 Week 13 i

New- &wmd String. Ensemble

SUSAN DAVENNY WYNER, CONDUCTOR & MUSIC DIRECTOR

Celebrating Youth Saturday, January 29, 2005 8pm Sunday, January 30, 2005 3pm Stoneham Theatre, Stoneham NEC's Jordan Hall, Boston

Vivaldi Flute Concerto in D, op. 10 no. 3, "The Cardinal"

Grieg Two Norwegian Dances, op. 63

Hoist Brook Green Suite Musical Heritage winners Youth Competition winners

Jakoulov All at Once (2004) with Anna Myer "Anna Myer is a master weaver. ..her and Dancers (Boston Premiere) choreographic voice is quietly bizarre, but it is all her own." _New York Times

781-224-1117 www.newenglandstringensemble.org

Corporate fitness &

wellness is our beat.

For 25 years, Fitcorp has been greater Boston's leader in

corporate fitness and wellness, with a network of fitness centers in and around Boston. The Fitcorp Benefit is an innovative health

and wellness program chosen by over 175 companies.

HESTQF For more information on The Fitcorp Benefit, contact Michael Parent, Senior Vice President at fitcorp HSZ [email protected] or 617-375-5600 x 114. www.fitcorp.com Best G y

38 birdcalls that Bartok wrote down during the winter of 1943-44, which he spent (for his health) in Asheville, North Carolina. Halsey Stevens has pointed out the similarity in spirit between the "night music" of the concerto and the movement entitled "The Night's Music" from the Out of Doors suite for piano, a movement that was dedicated "to Ditta."

Throughout the concerto the textures are transparent and light, never remotely close to overwhelming the piano, which is itself treated in an unusual manner. Gone are the great pounding, muscular chords; here the piano, as often as not, is crys- talline and linear, often with both hands playing a single line in octaves. The character of the opening move-

ment is, however, full of Bartok's long- ing for his homeland—it is in the style of a verbunkos, with its sharply dotted rhythms and ornate melodic turns. The slow movement's chorale theme (which justifies the designation religioso in the tempo marking), which appears in the piano with support from the strings, returns after the delicate "night music" section in the wood- winds, with the solo piano providing the conversational gambits. The finale is an energetic dance that keeps reap- pearing rondo-fashion, varied by in- ventive and lively contrapuntal interludes.

Tibor Serly looked in on Bartok on Bartdk with the pianist Gydrgy Sdndor, who pre- September 21, 1945, to find him in miered the Piano Concerto No. 3 with conductor bed, working on the close of the Third Eugene Ormandy in Philadelphia on February 8, Concerto. The composer's son, Peter, 1946, five months after the composers death had drawn in the bar lines, and Bartok had already marked "Wge," to indicate "the end," but he never completely filled in those last seventeen measures: Serly would complete the orchestration from the sketched-out indications. The following day Bartok was taken to the hospital, from which he never returned. Despite the many miseries of his last years, he seems finally to have been more content with the way things had turned out. To the end he was full of plans to complete the commissioned works and go on to still other projects. As he said to one of the hospital doctors, "I am only sorry that I have to leave with my baggage full." —Steven Ledbetter

Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998. In 1991 his BSO program notes received an ASCAP/Deems Taylor Award. He now writes program notes for orchestras and other ensembles throughout the country, and for such concert venues as Carnegie Hall.

39 Week 13 Hear Classical LIVE On 102.5 50 Weeks of LIVE Broadcasts BSO • Tanglewood • Pops

Sponsored by: LEXU5© SaCforn

Classical 102.5 WCBfB broadcasts LIVTL performances of the "BSO, tanglewood and

r Join us at 102.5 EMfor:

• "BSO, September - tfpril

tTops, May -June

• "Tanglewood, July - August

Classical 102.5 WCRB S T N

New England's Choice for Classical Music

www.wcrb . com Modest Mussorgsky Pictures at an Exhibition (orchestrated by Maurice Ravel)

Modest Petrovich Mussorgsky was born at Karevo, district of Pskov, on March 21, 1839, and died in St. Petersburg on March 28, 1881. He composed Pictures at an Exhibition as a set ofpiano pieces in June 1874. Maurice Ravel made his orchestral transcription in the summer of 1922 for Serge Koussevitzky, who two years later would begin his twenty-five-year tenure as music director of the Boston Symphony. Koussevitzky intro- duced the Ravel version at one of his own concerts in Paris on October 22, 1922, and led the first American performance with the Boston Symphony Orchestra early

in his first season, on November 7, 1924. Koussevitzky programmed the Mussorgsky/Ravel Pictures frequently during his years with the orchestra, the last time being on subscription concerts in October 1948. Ravels orchestration of Pictures has also been performed at BSO concerts under Richard Burgin, Eleazar de Carvalho, Guido Cantelli, Igor Markevitch, Ernest Ansermet, Seiji Ozawa, Thomas Schippers, Carlo Maria Giu- lini, James Levine, Kazuyoshi Akiyama, Eugene Ormandy, Charles Dutoit (including the most recent Tanglewood performance, on August 22, 1998), James Conlon, Eri Klas, and Ran Volkov (the most recent subscription performances, in March 2003). Mussorgsky's Pictures have also been heard in Boston Symphony concerts under Kurt Masur in an orchestration by Sergei Gorchakov (January 1984 at Symphony Hall, July 1984 at Tangle- wood, and then again at Tanglewood in July 2003), and under Leonard Slatkin in an arrangement with the different "pictures" variously orchestrated by Lawrence Leonard,

u It's Wortk the Wait. 77

Planning the perfect retirement in

historic Concord is easier than ever when you sign up ror Newhury Court's Future Residents Waiting List. Whether you're ready to retire now, or 5 or 10 years irom now you can reserve the suite or your choice with a small rerundahle deposit.

L« Newbury1 Court Comingf Soon! 35 Additional Independent Living? Apartments Call Joyce Irvine Cassidy at:

A distinctive Retirement Community £. (978) 369-5155 in historic Concord.

100 Newbury Court, Concord, MA 01 742 * Sponsored and Managed by: New England Deaconess Association

41 1 9 ms M^^HMHl

"Simply Stunning!"

- The Boston Globe

BOSTON CHAMBER MUSIC SOCIETY Ronald Thomas, Artistic Director UPCOMING CONCERTS

Fridays at Jordan Hall I Sundays at Sanders Theatre I 7:30 p.m.

Feb ii & 13 The Trout

Mozart Flute Quartet in A major, K. 298

with BSO and BCMS flutist Fenwick Smith

Respighi II Tramonto for Mezzo Soprano and Strings

Shostakovich Seven Romances on Poems by A. Blokfor Mezzo

Soprano and Piano Trio, Op. 1 27 featuring mezzo soprano Mary Nessinger

Schubert Piano Quintet in A major, D. 667 'The Trout"

with BSO Principal Bassist Edwin Barker

Mar 18 & 20 The Schumann Quintet

Ravel Sonata for Violin and Cello

Robert Fuchs Clarinet Quintet in E-flat major, Op. 102

Schumann Piano Quintet in E-flat major, Op. 44

with pianist Randall Hodgkinson and violinist Arturo Delmoni

Intimacy. Excitement. Sheer Beauty. bostonchambermusic.org 61 7.349.0086

42 Vladimir Ashkenazy, Laden Cailliet, Gorchakov, Leonidas Leonardi, Sir Henry Wood, M. Tushmalov, Leopold Stokowski, and Ravel (August 1990 at Tanglewood). Ravel's orchestration calls for two flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, alto saxophone, four horns, three trumpets, three trombones, tuba, timpani, glockenspiel, bells, triangle, tam-tam, rattle, whip, cymbals, side drum, bass drum, xylophone, celesta, two harps, and strings.

It was Ravel, the Frenchman, who told Koussevitzky, the Russian, about these fascinating pieces and fired his enthusiasm. The Pictures were quite unknown then, and Mussorgsky's publisher, Bessel, had so little faith in them that they stipulated that Ravel's transcription be for Koussevitzky's personal use only since there was clearly

nothing in it for them. The Mussorgsky/Ravel Pictures quickly became a Koussevitzky specialty, and his frequent and brilliant performances, especially his fantastic 1930 recording with the Boston Symphony, turned the work into an indispensable repertory item. What would particularly have pleased Ravel is that the popularity of "his" Pic- tures at an Exhibition led pianists to rediscover Mussorgsky's. In transcribing the Pic- tures Ravel had been anticipated by M. Tushmalov as early as 1891 and by Sir Henry

J. Wood in 1920, and then there were, during the period Ravel's version was available only to Koussevitzky, Leonidas Leonardi ("whose idea of the art," remarked a contemporary critic, "is very remote"), Lucien Cailliet, and Leopold Stokowski—not to forget the electronic version by Tomita, the rock one of Emerson, Lake & Palmer, or the more recent orchestral version by Vladimir Ashkenazy.* Ravel's edition is the time-tested survivor, and for good reason: his is Mussorgsky's peer, and his transcription stands as

*One of the more unnecessary transcriptions of Pictures at an Exhibition—or of anything else—is that by Vladimir Horowitz, who made a new version for piano!

The Great Gate of Kiev

43 Week 13 the model of what we would ask in probity, technical brilliance, fantasy, imaginative insight, and concern for the name linked with his own.

The Pictures are "really" Victor Hartmann's. He was a close and important friend to Mussorgsky, and his death at only thirty-nine in the summer of 1873 was an occasion of profound and tearing grief for the composer. The critic Stasov organized a posthumous exhibition of Hartmann's drawings, paintings, and architectural sketches in St. Peters- burg in the spring of 1874, and by June 22, Mussorgsky, having worked at high intensi- ty and speed, completed his tribute to his friend. He imagined himself "roving through the exhibition, now leisurely, now briskly in order to come close to a picture that had attracted his attention, and at times sadly, thinking of his departed friend." The roving music, which opens the suite, he calls "Promenade," and his designation of it as being 'Vie/ modo russico" is a redundancy.

Gnomus: According to Stasov, "a child's plaything, fashioned, after Hartmann's design in wood, for the Christmas tree at the Artists' Club. . . It is something in the style of the fabled Nutcracker, the nuts being inserted into the gnome's mouth. The gnome accompanies his droll movements with savage shrieks."

II vecchio castello (The Old Castle): There was no item by that title in the exhibition, but it presumably refers to one of several architectural watercolors done on a trip of Hartmann's to Italy. Stasov tells us that the piece represents a medieval castle with a troubadour standing before it. Ravel decided basically to make his orchestra the size of the one Rimsky-Korsakov used in his edition of his opera Boris Godunov, the most famous of earlier orchestrations of Mussorgsky, but not, alas, as honorable as Ravel's. He went beyond those bounds in adding percussion and, most remarkably, in his inspired use of the alto saxophone here. In this movement, Ravel makes one of his rare compositional changes, adding an extra measure of accompaniment between the first two phrases of the melody.

Carole Charnow, Genera/ Director OPERA BOSTON Gil Rose, Music Director 2004-2005 season

at the Cutler Majestic Theatre, Boston

Offenbach LAVIEPARISIENNE

October 15, 17, 2004

Gluck ALCESTE Collaboration with Boston Baroque Martin Pearlman, Music Director January 28, 30, 2005

For brochure, call Ward 617 451-3388 or email [email protected] THE CRUCIBLE April 8, 10, 2005 Single tickets available at Majestic box office or through www.telecharge.com

1 800 233-3123 www.operaboston.org

SUBSCRIBE NOW TO BOSTON'S MOST ADVENTUROUS OPERA COMPANY!

44 " .

Tuileries: The park in Paris, swarming with children and their nurses. Mussorgsky reaches this picture by way of a Promenade.

Bydlo: The word is Polish for cattle. Mussorgsky explained to Stasov that the picture represents an ox-drawn wagon with enormous wheels, but adding that "the wagon is not inscribed on the music; that is purely between us."

Ballet of Chicks in their Shells: A costume design for a ballet, Trilby, with choreography by Petipa and music by Gerber, and given in St. Petersburg in 1871 (no connection with George du Maurier's famous novel, which was not published until 1893). A scene with child dancers was de rigueur in a Petipa spectacular. Here we have canaries "enclosed in eggs as in suits of armor, with canary heads put on like helmets." The ballet is preceded by a short Promenade. Samuel Goldenberg and Schmuyle: Mussorgsky owned two drawings by Hartmann entitled "A rich Jew wearing a fur hat" and "A poor Jew: Sandomierz." Hartmann had spent a month of 1868 at Sandomierz in Poland. Mussorgsky's manuscript has no title, and Stasov provided one, "Two ^~ Polish Jews, one rich, one poor," and t^^~ he seems later to have added the names of Goldenberg and Schmuyle. Another Chick costume for the ballet "Trilby" small alteration here: Mussorgsky ends with a long note, but Ravel has his Goldenberg dismiss the whining Schmuyle more abruptly.

The Market at Limoges: Mussorgsky jots some imagined conversation in the mar-

gin of the manuscript: "Great news! M. de Puissangeout has just recovered his cow. . Command Performance Inspiring communications that get attention.

ADAMS proudly supports the Boston Symphony Orchestra.

We know what it takes to work in harmony: we've been

creating sound marketing solutions for clients in a broad

range of industries for many years. Let us show you how we

can make your communications heard, and not just seen.

Call us at 61 1 581 .6644 or visit us at: www.adams-solutions.com

One Gateway Center Newton, Massachusetts 02458

45 BOSTON tistic Director

LASYLPHIDE March 3-6 /March 10-13,2005 NEW PRODUCTION

Music: Herman Ltrvenskjold Choreography: Sorella Englund after August Bournonville

Scenic Design and Costumes: Peter Cazalet

FALLING ANGELS March 17-20,2005

FALLING ANGELS IN THE MIDDLE, SOMEWHAT ELEVATED

Music: Steve Reich Music: Thorn Willems

Choreography: Jiri Kylidn Choreography: William Forsythe

SARABANDE WORLD PREMIERE

Music: Johann Sebastian Bach Music: Arcangelo Corelli Choreography: Jiri Kylidn Choreography: Lucinda Childs

THE SLEEPING BEAUTY May 5-15, 2005

Music: Peter llyich Tchaikovsky Choreography: Sergeyev / de Valois

SUBSCRIBE FOR SPRING!

3-Ballet Flex Pass available NOW! Call BOSTON BALLET at 617.695.6955

TICKETS $18-98 • CALL TELECHARGE AT 1.800.447.7400 Tickets also available at The Wang Theatre Box Office, open Mon-Sat, 10 am-6 pm.

Groups of at least 15 call 617.456.6343. TTY 1.888.889.8587 f 8* www.bostonballet.org Sea$0 " Lead Sponsor

Photos of Larissa Ponomarenko; Yury Yanowsky and Romi Beppu; Larissa Ponomarenko and Nelson Madrigal by John Deane; Fidelity Concept and design: Sametz Blackstone Associates, Boston

46 Mme. de Remboursac has just acquired a beautiful new set of teeth, while M. de Panta- leon's nose, which is in his way, is as much as ever the color of a peony." With a great rush of wind, Mussorgsky plunges us directly into the

Catacombae. Sepulcrum Romanum: The picture shows the interior of catacombs in Paris with Hartmann, a friend, and a guide with a lamp. Mussorgsky adds this mar- ginal note: "The creative spirit of the dead Hartmann leads me towards skulls, apostro- phizes them—the skulls are illuminated gently from within." Con mortuis in lingua mortua (Among the dead in the language of the dead): A ghostly transformation of the Promenade, to be played "con lamento."

The Hut on Chicken Legs: A clock in 14th-century style, in the shape of a hut with cock's heads and on chicken legs, done in metal. Mussorgsky associated this with the witch Baba-Yaga, who flew about in a mortar in chase of her victims.

The Great Gate of Kiev (see picture on page 43): A design for a series of stone gates that were to have replaced the wooden city gates, "to commemorate the event of 1886." s April 4, The "event" was the escape of Tsar Alexander II from assassination. The gates were never built, and Mussorgsky's majestic vision seems quite removed from Hartmann's plan for a structure decorated with tinted brick, with the Imperial eagle on top, and, to one side, a three-story belfry with a cupola in the shape of a Slavic helmet. —Michael Steinberg

Michael Steinberg was the Boston Symphony Orchestra's Director of Publications from 1976 to 1979, having previously been music critic of the Boston Globe from 1964 to 1976. After leaving Boston he was program annotator for the San Francisco Symphony and then also for the New York Philharmonic. Oxford University Press has published two compilations of his program notes (The Symphony—A Listeners Guide and The Concerto—A Listener's Guide). A third volume, Choral Masterworks—A Listeners Guide, on the major works for orchestra with chorus, is due in March.

47 Discover a Hidden Gem Right Across the Street

Just a block north of where you are sitting tonight is a realm of discovery that celebrates the power of ideas.

History's great thoughts overflow a high-tech fountain and swirl up the walls of the Hall of Ideas*

The three-story Mapparium® wraps you in the sound of voices that have changed the world.

"Quotes" Cafe offers food for thought and thoughtful food in a comfortable setting.

And that's just the first floor!

The Mary Baker Eddy Library 200 Massachusetts Avenue, Boston MA 02115

-222-371 1 wvvrw.niarybakereddylibrary.org

48 .

More . . .

The article on Michael Gandolfi in The New Grove Dictionary of Music and Musicians (2001) is by Steven Ledbetter. The best, most up-to-date source of information on the composer and his works is his own website, www.michaelgandolfi.com. This includes a biography, works list, and even sound clips of some of the pieces. Gandolfi's Points of Departure was recorded by the conductorless Orpheus Chamber Orchestra in the early 1990s, but that Deutsche Grammophon disc seems to have fallen out of the catalog. Gandolfi's Caution to the Wind for flute and strings and II ventaglio di Josephine for piano were included on a CRI disc sponsored by the American Academy of Arts and Letters; CRI is in limbo at the moment, but eventually—hopefully soon—that label's complete catalog will become available from New World Records. A recording of Gandolfi's Pinoc- chios Adventures in Funland is due for imminent release on the Innova label. The large, copiously illustrated book The Garden of Cosmic Speculation by Charles Jencks is published by the British firm Frances Lincoln, Ltd. (ISBN 7112 2216 9). —Robert Kirzinger

Paul Griffiths's Bartdk in the Master Musicians series (Dent paperback) is a useful supplement to Halsey Stevens's The Life and Music of Bela Bartok, which has long been the standard biography of the composer (Oxford paperback). The Bartok article by Vera Lampert and Laszlo Somfai from The New Grove Dictionary of Music and Musicians (1980) was reprinted in The New Grove Modern Masters: Bartok, Stravinsky, Hindemith (Norton paperback). The new article in the revised Grove (2001) is by Malcolm Gillies. B6la Bartdk by Kenneth Chalmers is a volume in the very useful, copiously illustrated series "20th-century Composers" (Phaidon paperback). Also useful is John McCabe's

Bartdk Orchestral Music in the series of BBC Music Guides, though it does not include

October 14. 16. 17 2004/2005 Season Mahler: Adagio from Symphony L Das Lied von der Erde Boston Gigi Mitchell-Velasco, mezzo-sopVu Philharmonic Thomas Young, tenor November 18. 20. 21 Ravel: La Valse Gershwin: Concerto in F Kevin Cole, piano Stravinsky: Petrushka February 10. 12. 13 Bruckner: Symphony No. 8

Anril 28. 30. Mav 1 Penderecki: Threnody to the Victims of Hiroshima Bridge: Oration, Concerto Elegiaco Alexander Baillie, cello Prokofiev: Symphony No. 5

Benjamin Zander and the Boston Philharmonic

Subscribe and save up to 20% For Tickets: Call 617.236.0999 or www.bostonphil.org

" . . .Zander's transcendent Philharmonic! " -Boston Globe

49 the solo concertos (University of Washington paperback). Michael Steinberg's notes on the three Bartok piano concertos are in his compilation volume The Concerto—A Listener's Guide (Oxford paperback). Two relatively recent books offer wide-ranging consideration of Bartok's life, music, critical reception, and milieu: Bartok and his World, edited by Peter Laki (Princeton University Press), and The Bartok Companion, edited by Malcolm Gillies (Amadeus paperback). Agatha Fassett's personal account of the composer's last years has been reprinted as The Naked Face of Genius: Bela Bartok s American Years (Dover paperback). Bela Bartok: His Life in Pictures and Documents by Ferenc Bonis is a fascinating compendium well worth seeking from secondhand book dealers (Corvino).

Noteworthy recordings of the three Bartok piano concertos include Yefim Bronfman's with Esa-Pekka Salonen and the Los Angeles Philharmonic (Sony Classical, with all three on a single disc), Geza Anda's with Ferenc Fricsay and the Berlin Radio Symphony (Deutsche Grammophon), Jeno Jando's with Andras Ligeti and the Budapest Symphony Orchestra (on the budget Naxos label), Stephen Kovacevich's with Colin Davis and the London Symphony Orchestra (in a Philips "Duo" also including the Violin Concerto No. 1 and the Concerto for Orchestra), and Zoltan Kocsis's with Ivan Fischer and the Budapest Festival Orchestra (Philips). Martha Argerich has recorded Bartok's Piano Concerto No. 3 with Charles Dutoit and the Montreal Symphony Orchestra (EMI, with Prokofiev's First and Third piano concertos). Pianist Gyorgy Sandor (a pupil of Bartok's) is the featured

North Andover's PREMIER Li/eCare™ RETIREMENT COMMUNITY

Spacious 1 & 2 bedroom apartments

Over 60 beautiful, wooded acres "Lala Rokh is the Full range of health care services available ultimate expression of Developed and managed by ourfamily's passion industry leader, Life Care Services LLC for Persian cuisine Edgew and the arts." 575 Osgood Street • North Andover, MA — Azita Bina-Seibel and Bahak Bina (978) 725-3300 ^ Freedom, Control, Stability, Health Care lzJ 36111 "Recognized as one of Americas top tables." DALE CHIHULY INSTALLATIONS AND SCULPTURE — Gourmet Magazine

"Best Persian restaurant."

-Best of Boston, Boston

holsten Galleries CONTEMPORARY GLASS SCULPTURE 97 Mt. Vernon Street / Beacon Hill / Tel. 720-5511 ELM STREET, STOCKBRIDGE, MA 01262 41 3.298.3044 www.holstengalleries.com —

soloist with Michael Gielen leading the Vienna Symphony Orchestra and Bamberg Sym- phony Orchestra in a two-disc budget-priced box including the three piano concertos plus the Sonata for Two Pianos and Percussion and other works (Vox). It was Sandor who gave the 1946 premiere of the Piano Concerto No. 3 some months after the composer's death.

Places to read about Mussorgsky include David Brown's Musorgsky: His Life and Works in the Master Musicians series (Oxford University Press), Gerald Abraham's entry in the New Grove Dictionary of Music and Musicians (1980), Robert William Oldani's essay in the revised New Grove (2001), and Richard Taruskin's Musorgsky: Eight Essays and an Epilogue (Princeton University paperback). Older but still useful sources (though currently out of print) include M.D. Calvocoressi's Modest Mussorgsky, and The Mussorg- sky Reader: A Life of Modeste Petrovich Mussorgsky in Letters and Documents, edited and translated by Jay Leyda and Sergei Bertensson. Relatively recent research is represented by Musorgsky: In Memoriam 1881-1981, edited by Malcolm Hamrick Brown, and Musorgskys Days and Works: A Biography in Documents, edited by Alexandra Orlova (both UMI Research Press).

There are many more recordings of Pictures at an Exhibition than there is space here to list them. For the standard Ravel orchestration, Fritz Reiner's account with the Chicago Symphony Orchestra continues to hold its own (RCA). Other strong contenders include Leonard Bernstein's with the New York Philharmonic (Sony Classical), James Levine's with the MET Orchestra (Deutsche Grammophon), Eugene Ormandy's with the Phila- delphia Orchestra (RCA), Giuseppe Sinopoli's with the New York Philharmonic (Deutsche Grammophon), Georg Solti's with the Chicago Symphony (London), and George Szell's with the Cleveland Orchestra (Sony Classical). Important historic accounts of Pictures in the Ravel orchestration include Serge Koussevitzky's with the Boston Symphony Orchestra, from 1930 (RCA), and Arturo Toscanini's with the NBC Symphony Orchestra, from 1953 (RCA). For a modern recording of Mussorgsky's original piano version, you probably won't do better than Yefim Bronfman's (Sony Classical), though you'll surely want also to know about Sviatoslav Richter's, taken from a 1958 Sofia recital (currently on Philips), and Vladimir Horowitz's own, sometimes over-the-top rethinking of what Mussorgsky actually wrote (RCA).

For those interested in orchestrations other than Ravel's well-known one, Kurt Masur has recorded his favored instrumentation—one from the 1950s by Sergei Gorchakov with the London Philharmonic (Teldec; Masur has led this version on several occasions with the BSO, most recently to open the 2003 Tanglewood season). Leif Segerstam has recorded a 1922 instrumentation by Leo Funtek with the Finnish Radio Symphony Orchestra (BIS). Jukka-Pekka Saraste has recorded a conflation of the Gorchakov and Funtek versions with the Toronto Symphony Orchestra (Finlandia). The Lucien Cailliet version cited in Michael Steinberg's program note was recorded by Leopold Stokowski and again later by Eugene Ormandy with the Philadelphia Orchestra, with which Stokow- ski also recorded his own orchestration of Pictures. Finally, the conductor Leonard Slatkin assembled a version showcasing a variety of instrumentations, drawing for the individual "pictures" upon the orchestrations by Vladimir Ashkenazy, Cailliet, Gorchakov, Leonidas Leonardi, Ravel, Stokowski, M. Tushmalov, and Sir Henry Wood. Slatkin performed this version with the BSO at Tanglewood in 1990; a performance of his with the Saint Louis Symphony was issued in a CD box released by that ensemble for fundraising purposes. —Marc Mandel

51 Week 13 Life only gets better.

Afr. & Mrs. Richard Hill, Fox Hill Village residents

Music, traveling, sailing, and entertaining enriched

the lives of Dick Hill, former CEO of Bank of Boston, and his wife,

Polly, a past member of the Boston Symphony Board of Overseers. Now the welcoming sociability of Fox Hill Village and the many onsite cultural

activities offered there (college courses, movies,

lectures, and concerts) fit

the Hills' active lifestyle.

Distinguished floor plans, convenient fitness center, dependable security,

and the flexibility and accommodation afforded by resident ownership and management, help rate Fox Hill Village highest in resident satisfaction.

Come and experience for yourself the incomparable elegance of Fox Hill Village, New England's premiere retirement community.

To learn more, call us at 781-329-4433.

Developed by the Massachusetts General Hospital.

Fox Hill Village at Westwood

10 Longwood Drive, Westwood, MA 02090 (781) 329-4433 (Exit 16B off Route 128)

52 David Ziiiman David Zinman is in his tenth season as music director of the Tonhalle Orchestra in Zurich, having taken up that post in 1995 after many years as a regular guest conductor there. In 1998 he completed a thirteen-year tenure as music director of the Baltimore Symphony Orchestra, and became music director of the Aspen Music Festival and School, where he is also program director of the newly formed American Academy of Conducting. Mr. Zinman's tenures in Baltimore and Zurich have been distinguished by a ^^B ^^ ** broad repertoire, commitment to contemporary music, and histori- ^^^ ^^^ cally informed performance practice. He has toured widely with both orchestras in Europe, North America, and the Far East. Mr. Zinman and the Tonhalle Orchestra have also performed throughout Europe. They have recorded Honegger and Mozart for the London/Decca label, recently completed Beethoven and Strauss cycles for Arte Nova, and have begun recording the Beethoven concerto repertoire for Arte Nova. Mr. Zinman made his American conducting debut with the Philadelphia Orchestra in 1967 and has since led many of the world's leading orchestras. His schedule as guest conductor in 2004-05 includes returns to the Boston Symphony, the Los Angeles Philharmonic, and the Pittsburgh, San Francisco, Montreal, and National symphony orchestras. He also conducts the Orchestra of St. Luke's at Carnegie Hall with Dawn Upshaw. Abroad, he leads the Stockholm Philharmonic and the Munich Philharmonic. David Zinman served as music director of the Rochester Philharmonic, the Rotterdam Philharmonic, and the Netherlands Chamber Orchestra. He has made regular guest appearances at the Blossom, Hollywood Bowl, Mostly Mozart, Ravinia, Saratoga, and Tanglewood festivals, and was artistic director of the Minnesota Orchestra's Viennese Sommerfest. He conducts and records frequently with the Berlin Philharmonic, the Deutsches Symphonie-Orchester Berlin, the Orchestre de Paris, the Concertgebouw Orchestra of Amsterdam, the London Symphony Orchestra, the Philharmonia Orchestra, and the Israel Philharmonic. His extensive discography of more than eighty recordings has earned numerous international honors. Mr. Zinman also received the prestigious Ditson Award from Columbia University, given in recognition of his exceptional commitment to American composers. Born in 1936, he graduated from Oberlin Conservatory and pursued advanced work in composition at the University of Minnesota. Conducting studies at the Boston Symphony's Tanglewood Music Center brought him to the attention of Pierre Monteux, who guided his musical

Boston Symphony Orchestra concertmaster Malcolm Lowe performs on a Stradivarius violin loaned to the orchestra in memory of Mark Reindorf.

53 clutter v clarity

It's a noisy world out there. Rise above the din.

For twenty-five years, Sametz Blackstone has provided communications and design counsel

to leading corporate, academic, and cultural

organizations—to build brand awareness, BSO, Tanglewood, Pops promote products and services, raise capital,

Boston Ballet and add measurable value.

Bank of America Celebrity Series

Harvard University The need may be a comprehensive branding program or a website, a capital campaign or Yale University an annual report. Through strategic consulting, MIT Sloan School of Management thoughtful design, and innovative technology, Tufts Health Plan we've helped both centenarians and start-ups The American Ireland Fund to effectively communicate their messages, Scudder Investments / Deutsche Bank offerings, and personalities—to achieve

Dana-Farber Cancer Institute resonance—and be heard above the din.

Whitehead Institute for Biomedical Research

Boston Public Library

City of Boston

Sametz Blackstone Associates Compelling communications— helping evolving organizations navigate change

40 West Newton Street 617.266.8577 Blackstone Square [email protected] loston 02118 www.sametz.com

' development. Mr. Monteux also gave Mr. Zinman his first important conducting opportunities, with the London Symphony Orchestra and at the 1963 Holland Festival. David Zinman made his Boston Symphony debut at Tanglewood in July 1968 and his subscription series debut in January 1980; his most recent subscription program with the orchestra was in March 2000, when he led music of Rouse, Mozart, and Stravinsky.

Richard Goode A native of New York, pianist Richard Goode has been hailed for the emotional strength, depth, and expressiveness of his music- making. During the 2003-04 season, Mr. Goode performed Bartok's Third Piano Concerto with (among others) the Cincinnati Symphony Orchestra under Paavo Jarvi, the Cleveland Orchestra under David Zinman, and the Budapest Festival Orchestra with Ivan Fischer. He also gave solo recitals in Amsterdam, London, Paris, Madrid, Munich, Vienna, and numerous other European cities, as well as in such North American cities as New York, Los Angeles, San Fran- cisco, Philadelphia, Miami, and Toronto. His recent recording of Bach Partitas was selected as "Record of the Month" by Gramophone magazine. In the 2004-05 season, his engagements across the United States and Europe include summer performances at Tanglewood, the Proms, and the Edinburgh International Festival; recitals in Madrid, Utrecht, London, and Cologne in December 2004, and in the spring, recitals at Paris's Chatelet and Antwerp's De Singel, as well as an extensive United States tour with Dawn Upshaw, with nearly a dozen dates on the west coast and eastern seaboard. The 2004-05 season also brings additions to Mr. Goode's extensive discography with the release of his recording of Mozart sonatas and short works, as well as a recital program recording with Dawn Upshaw. Mr. Goode studied with Elvira Szigeti and Claude Frank, with Nadia Reisenberg at the Mannes College of Music, and with Rudolf Serkin at the Curtis Institute. He has been serving with Mitsuko Uchida as co-Artistic Director of the Marlboro Music School and Festival since 2000, and resides in New York with his wife, Marcia. Mr. Goode made his Boston Symphony debut in July 1991 at Tanglewood, following that with his subscription series debut in November 1993. He has since appeared with the orchestra in Boston and at Tanglewood, where he has also appeared in recital. His most recent subscription performances were in January 2002; his most recent Tangle- wood appearances were in July 2004, in an Ozawa Hall recital and as concerto soloist with the BSO.

A Full-Service Lifecare Retirement Community BROOKHAVEN AT LEXINGTON

(781) 863-9660 • (800) 283-1114 www.aboutbrookhaven.org

55 Marketing Fine Homes, Land And Estates

Topsfield Chestnut Hill (Brookline) 290 IPSWICH ROAD 125 YARMOUTH 8.75+ Acres Surrounded by Willowdale State For- A lovely parcel in one of Chestnut Hill's est & Bradley Palmer State Park. This beautiful best neighborhoods. Renovate the existing hilltop building site is surrounded on 3 sides by 1955 ranch with six rooms and 3500 square the 2,400 acre Willowdale State Forest and the feet, or build anew at the end of this high- 721 acre Bradley Palmer State Park. Only an 8 ly desired street. Parcel offers 40,600 minute drive from Topsfield and Ipswich Centers square feet with interesting topo and pri- and commuter rail service to Boston. $895,000 vate rear yard. $3,200,000 Richard L. Church 617-357-8956 Terry Maitland 617-357-8949

Weston Chestnut Hill (brookline) 35WINSORWAY FERNWOOD ROAD This elegant contemporary has a westerly ori- A beautiful one-acre-plus lot in the heart of entation and sits on an elevated site of 1.0+ Chestnut Hill. This bucolic setting features acres of lawn and woods near the Weston Golf flat, rolling land overlooking a small pond. Club. Renovated in an elegant style the home Situated on a quiet cul-de-sac in a family sq. ft. light-filled living has 3,200 of space, large neighborhood, this parcel is located in the windows, 9 sunfilled rooms including living Country Club neighborhood just a chip shot family library, room, room, dining room, 3 bed- away from the club itself. A prime parcel in rooms, 3-5 baths, and 3 fireplaces. $1, 725,000 a prime neighborhood. $3,650,000 Terry Maitland 617-357-8949 Terry Maitland 61 7-357-8949 LancfVesf THE NEXT LEVEL OF SERVICE Ten Post Office Square, Boston, MA 02109 617-723-1800 CHRISTIE'S Exclusive www. landvest. com Affiliate of GREAT ESTATES

56 -iita R

) o ki

On another note

A gift is waitingfor you .\0i^m , r when you shop in our store, DEATH JR. now through February 28. Please mention the Symphony.

Leather Goods • Fine Furnishings • Pens • Reading Tools

The Prudential Center • 111 Huntington Avenue, Back Bay, Boston

617-536-3434 • Levenger.com

We play to your higher aspirations .

High Style and Hoop Skirts: 1850s Fashion

THROUGH MARCH 13

Woman's evening dress, United States, about 1858. Silk plain weave

(taffeta), machine net (tulle) and silk bobbin lace, trimmed with silk ribbon, embroidered silk net, and silk flowers. Gift of Roald T. Lyman, 1 951

Sets, Series, and Suites: Contemporary Prints

JANUARY 19 THROUGH MAY 30

Exclusive hotel sponsor is the Millennium Bostonian Hotel.

Media sponsor is Classical 102.5 WCRB.

Terry Frost, Orchard Tambourines, 1 999. Portfolio of twenty-five color woodcuts. Private collection. © The Estate of Terry Frost.

Pursuits of Power: Falconry and the Samurai, 1600-1900

THROUGH JUNE 12

Goshawk Mews (detail), Edo period, 1 7th century.

Six-panel folding screen; ink, colors, and gold on paper.

Philadelphia Museum of Art: Gift of Mr. and Mrs. Douglas J. Cooper, 1978.

ENTRANCE TO THESE EXHIBITIONS FREE WITH MUSEUM ADMISSION

Open 7 days a week &

This selection is only a sampling of events at the MFA. For further TTfff information on programs and exhibitions, please visit our Web site at BOSTON www.mfa.org or caii 617-267-9300. BOSTON SYMPHONY ORCHESTRA 2OO4-2OO5 SEASON

mfi

ital and Endowment Contributors K

ie Boston Symphony Orchestra is committed to providing the highest caliber performances and education and community outreach programs, and to pre- serving its world-renowned concert facilities. Contributions from donors and income from the endowment support 40 percent of the annual budget. The BSO salutes the donors listed below who made capital and endowment gifts and individuals who made restricted annual gifts of $10,000 or more between D January 1, 2004, and December 31, 2004. For further information, contact Robert Meya, Acting Director of Major and Planned Giving, at (617) 638-9252.

$1,000,000 and Up Mr. and Mrs. Peter A. Brooke Estate of Susan Morse Hilles Catherine and Paul Buttenwieser Mr. and Mrs. Edward H. Linde

Mr. John F. Cogan, Jr., and Estate of Miss Elizabeth B. Storer Ms. Mary L. Cornille Stephen and Dorothy Weber Estate of Francis L. Higginson

$500 / 000-$999 / 999 Kate and Al Merck Kristin and Roger Servison

$250,000-$499,999

Anonymous (1) Estate of Professor Arthur Maass Cynthia and Oliver Curme Megan and Robert O'Block Mr. John Hitchcock

$1 00,000-5249,999

Dorothy and David Arnold Estates of Dr. Nelson and Estate of Elizabeth A. Baldwin Mrs. Grace Saphir

Mr. William I. Bernell Mr. Thomas G. Sternberg Estate of Mrs. Pierre de Beaumont Jeanne H. Wolf in memory Estate of Miss Alma Grew of Gottfried Wilfinger Estate of Janet M. Halvorson

$50,000-$99,999

Anonymous (1) Estate of Mr. Robert W. Stewart Estate of Frances Fahnestock Estate of Madelaine G. von Weber

Mr. and Mrs. Robert I. Kleinberg Dr. Raymond and Hannah H. Schneider

Continued on page 59

57 u Sfke finest service I have encountered!"

"I have recently encouraged two colleagues

to call upon you and will continue to pass

along my sincere recommendations. I can always trust in the Bank's expert advice

and great service. In an inconstant world, my loyalty to Boston Private Bank remains unchanged."

We appreciate our clients for taking the time to

write and share their experiences with us. Our

relationship approach to private banking and

investment management is founded on our

commitment to exceptional service, our acces-

sibility and responsiveness, and our ability to

tailor financial services to the needs of our

individual and business clients. Many of our

clients tell us we are the region's finest private

bank. We invite you to discover for yourself

the difference at Boston Private Bank.

Please call Mark Thompson,

Chief Executive Officer at 617-912-4210

or [email protected]

Boston Private Bank B Trust Company A Boston Private Wealth Management Company

Deposit and Cash Management • Residential Mortgages

Investment Management • Commercial Banking

Member FDIC bostonprivatebank.com

58 Capital and Endowment Contributors (continued)

$25 /000-$49,999

Anonymous (1) Estate of George F. and Elsie Hodder Estate of Lillian G. Abrams Estate of David R. Pokross Mr. and Mrs. James L. Bildner Estate of Dorothy Troupin Shimler Estates of Harold K. Gross and Evelyn F. Gross

$15 / 000-$24,999

Anonymous (2) Kingsbury Road Charitable Fairmont Hotels & Resorts Foundation Elizabeth Taylor Fessenden Mr. and Mrs. Robert Lepofsky Foundation

$10,000-$ 14,999

Anonymous (1) Mrs. Patricia B. McLeod Mrs. Ben Beyea Mr. and Mrs. Peter Read Nina L. and Eugene B. Doggett Sylvia L. Sandeen Mrs. Marion E. Dubbs Estate of Charlotte S. Schwartz Dr. and Mrs. Orrie M. Friedman Mr. Norman Y. Stein Deborah Hauser Mr. and Mrs. Orlando N. Tobia Miss Victoria Kokoras Chip and Jean Wood

Audience Participation Required Restored Steinways Available A Tradition of Excellence Since 1950

Acme Piano Craftsmen Lee Doherty, President (617) 623-0600 10 Garfield Avenue, Somerville, MA 02145 www.AcmePiano .com

59 BOSTON SYMPHONY ORCHESTRA 2OO4-2OO5 SEASON

The Higginson Society

The Higginson Society embodies the tradition of musical excellence established in

1881 by the Boston Symphony Orchestra's founder and first benefactor, Henry Lee Higginson. During the 2003-2004 season, Higginson Society members provided

more than $2,500,000 to the Annual Fund, the largest single source of annual gift income from individuals. The Boston Symphony Orchestra gratefully acknowledges the following Higginson Society donors who have contributed between December 17, 2003, and December 16, 2004.

For more information about the Higginson Society, call (617) 638-9253.

appassionato-$ioo,ooo and above

The Estate of Elisabeth K. Davis Mr. and Mrs. Nathan R. Miller

virtuoso-$50,ooo to $99,999

[r. and Mrs. George D. Behrakis

ENCORE-$25,OOQ to $49,999

Anonymous (1) Megan and Robert O'Block Mr. and Mrs. Peter A. Brooke Jane and Neil Pappalardo Gregory E. Bulger Mr. Irving W. Rabb Mr. and Mrs. Julian Cohen Stephen and Dorothy Weber Mr. and Mrs. Edward H. Linde Mr. and Mrs. Stephen R. Weiner Mr. and Mrs. Jeffrey E. Marshall Drs. Richard and Judith Wurtman

The Richard P. and Claire W. Morse Foundation

MAESTRO-$15,000 to $24,999

Anonymous (1) Richard and Susan Landon Harlan and Lois Anderson Mr. and Mrs. John M. Loder Gabriella and Leo Beranek Carmine and Beth Martignetti Catherine and Paul Buttenwieser Joseph C. McNay

Mr. John F. Cogan, Jr., and Mrs. August R. Meyer Ms. Mary L. Cornille Mrs. Robert B. Newman Don and Donna Comstock Annette and Vincent O'Reilly Mrs. William H. Congleton Susan and Dan Rothenberg

Cynthia and Oliver Curme Carole and Edward I. Rudman Roberta and Macey Goldman Kristin and Roger Servison Mrs. Marilyn Brachman Hoffman Mr. and Mrs. Samuel Thorne Liz and George Krupp Mr. and Mrs. Robert C. Winters

60 The Higginson Society (continued)

patrons-$io,ooo to $14,999

Dorothy and David Arnold Richard and Joy Gilbert Lucille Batal Ms. M. Mr. and Mrs. Francis W. Hatch, Jr. Mrs. Linda Cabot Black Julie and Bayard Henry Mr. and Mrs. John M. Bradley Mr. and Mrs. George H. Kidder Mr. and Mrs. Alan S. Bressler Mr. and Mrs. Harvey Chet Krentzman Jan Brett and Joseph Hearne Anne Lovett and Stephen Woodsum Mr. William Brohn Ray L. and Connie Morton-Ewbank Mrs. Irving S. Brudnick Louise C. Riemer Samuel B. and Deborah D. Bruskin Mrs. George R. Rowland Ronald and Ronni Casty Mr. and Mrs. Kenan E. Sahin Mrs. Florence C. Chesterton-Norris Mr. and Mrs. Carl J. Shapiro Mr. and Mrs. Abram T. Collier Ms. Eileen C. Shapiro and John and Diddy Cullinane Dr. Reuben Eaves Mr. and Mrs. Lewis S. Dabney Mr. and Mrs. Ross E. Sherbrooke Nina L. and Eugene B. Doggett Mr. and Mrs. Ray Stata William R. and Deborah Elfers Ms. Jean C. Tempel Ginger and George Elvin Mr. and Mrs. Daniel Waintrup Roger and Judith Feingold Mr. David C. Weinstein Hon. and Mrs. John H. Fitzpatrick James and Jeanne Westra Mrs. Bruni Fletcher-Koch Henry and Joan T. Wheeler Mrs. Kenneth Germeshausen J. Dr. and Mrs. Michael J. Zinner sponsors-$5,ooo to $9,999

Anonymous (8) Mr. David L. Driscoll Miss Barbara Adams Charles and JoAnne Dickinson Bob and Pam Adams Mr. Alan Dynner Helaine and Alvin Allen William R. and Deborah Elfers Joel and Lisa Schmid Alvord Mrs. Priscilla Endicott

Mr. and Mrs. Walter Amory Nancy J. Fitzpatrick and Lincoln Russell Mrs. Rae D. Anderson Mr. and Mrs. Dean W. Freed Mr. and Mrs. Sherwood E. Bain Mr. John Gamble George and Roberta Berry Mr. and Ms. Richard B. Gamble Doreen and Charles Bilezikian David Endicott Gannett Brad and Terrie Bloom Jane and Jim Garrett William T. Burgin Ann and Gordon Getty Foundation Rick and Nonnie Burnes Chad and Anne Gifford

Mr. Gordon E. Cadwgan Carol R. and Avram J. Goldberg Mr. Charles Christenson Thelma and Ray Goldberg Jim and Barbara Cleary Mr. and Mrs. Robert S. Green Loring and Katinka Coleman The Hagan Family Fund Mr. Eric D. Collins Mr. and Mrs. Ulf B. Heide Sarah Chapin Columbia and Carol and Robert Henderson Stephen Columbia Mr. and Mrs. Charles Hood Mr. and Mrs. Albert M. Creighton, Jr. Mr. and Mrs. William W. Hunt Mr. and Mrs. Bigelow Crocker, Jr. Ms. Eunice Johnson and Mr. Vincent Panetta Highgale Fund at the Boston Foundation Mr. and Mrs. C. Bruce Johnstone Tamara P. and Charles H. Davis II Debbie and Ted Kelly Mr. and Mrs. Miguel de Braganca Dr. and Mrs. Arthur R. Kravitz Paul F. and Lori A. Deninger Don and Gini LeSieur Continued on page 63 61 There's an art to a successful ride.

At Commonwealth Worldwide we work as a team to ensure that each

trip you take with us is a masterpiece. Call today to experience Boston's "Best Car Service" as awarded by Boston magazine.

OMMONWEALTH WORLDWIDE ^ CHAUFFEURED TRANSPORTATION Premier Corporate and Event Travel

"We are proud to be the Official Chauffeured Transportation of the Boston Symphony Orchestra."

Meetings and events, Career Chauffeurs, 7 days a week/ 24-hour phone reservations, Online reservations, FAA flight tracking system

800.558.5466 or 617.779.1919 • commonwealthlimo.com

62 The Higginson Society (continued)

SPONSORS-$5,000 to $9,999 continued

Dr. and Mrs. Frederick H. Lovejoy, Jr. John and Susanne Potts

Mr. and Mrs. John F. Magee Mr. and Mrs. Richard Prouty Dr. and Mrs. Joseph B. Martin Peter and Suzanne Read Kate and Al Merck Mike and Maureen Ruettgers

Dr. Martin C. Mihm, Jr. Mr. and Mrs. Douglas H. Sears Mr. and Mrs. John D. Montgomery Mr. and Mrs. Christopher Smallhorn Mrs. Olney S. Morrill Patricia L. Tambone Mr. and Mrs. Peter M. Nicholas Mr. and Mrs. Theodore H. Teplow

Mr. and Mrs. Gerald F. O'Neil Mr. and Mrs. William F. Thompson Dorothy R. P. Palmer Mr. and Mrs. Charles W Trippe, Jr. Dr. and Mrs. Oglesby Paul Rev. and Mrs Arthur A. Wahmann

Mr. and Mrs. E. Lee Perry Mrs. Charles H. Watts II Ms. Ann M. Philbin Lawrence and Dawn Weber Mr. Daniel A. Phillips and Mr. and Mrs. Reginald H. White Rev. Diana W. Phillips Lynne and Frank Wisneski May and Daniel Pierce Chip and Jean Wood Mrs. Hollis W. Plimpton, Jr. Dr. and Mrs. Nicholas T Zervas William and Lia Poorvu

MEMBERS-$2,500 to $4,999

Anonymous (22) Leonard and Jane Bernstein Mr. and Mrs. James M. Clark

Amy and David Abrams Mr. and Mrs. Robert J. Mr. and Mrs. Ronald C. Bill Achtmeyer Bettacchi Clark Mr. James E. Aisner Mr. and Mrs. Philip W. Jim and Barbara Cleary Vernon R. Alden Bianchi Mr. and Mrs. Frederic M. Harl and Lois Aldrich Benjamin and Annabelle Clifford Ms. Elizabeth Alexander Bierbaum Ms. Mary Hart Cogan Mr. Reginald Alleyne Mr. and Mrs. Jordan Birger Maryann and Kenneth Cohen Mr. and Mrs. Stephen H. Mrs. Stanton L. Black Dr. and Mrs. Lawrence H. Anthony Mr. and Mrs. Joseph M. Blair Cohn Marjorie Arons-Barron and Ms. Sue Blessing Mr. Stephen E. Coit James H. Barron Mr. and Mrs. John Bok Mrs. I. W Colburn Mr. and Mrs. Laurence Mark G. and Linda Borden Mrs. Aaron H. Cole Asquith Barbara and Gary Bowen Marvin and Ann Collier Diane M. Austin and Mrs. William C. Brengle Mr. and Mrs. Woolsey S.

Aaron J. Nurick Ms. Sierra Bright Conover Mr. and Mrs. Neil Ayer, Jr. Gertrude S. Brown Victor Constantiner Sandy and David Bakalar Ms. Michele C. Brown Mr. and Mrs. John L. Cooper Ms. Hope L. Baker Mrs. Douglas W Bryant Prof, and Mrs. Stephen Judith Ban- Mr. Matthew Budd, M.D. and Crandall Mr. Stephen Y. Barrow Ms. Rosalind Gorin Loretto and Dwight Crane Mr. and Mrs. Frank Bateman Jean Fiol Burlingame Joan P. and Ronald C. Molly and John Beard and Gene Burlingame Curhan Martin and Kate Begien Dr. and Mrs. Edmund B. Mr. and Mrs. Eric Cutler Mr. Larry Belcaster Cabot Dr. and Mrs. Philip D. Cutter Deborah Davis Berman and Harold and Judith Brown Bob and Lynn Daly William H. Berman Caro Robert and Sara Danziger

Mr. William I. Bernell David and Karin Wayne Davis and Wally and Roz Bernheimer Chamberlain Ann Merrifield

Continued on page 65 63 -Accompaniment-

As a private wealth management firm, we believe that taking a comprehensive approach to developing and implementing

appropriate financial strategies for all of your assets helps you to build and maintain financial coherence.

You have already succeeded in life. At Bingham Legg Advisers, we are committed to helping you build upon that success.

Bingham Legg Advisers is proud to support The Boston Symphony Orchestra

Edward J. Sullivan, Managing Director Bingham Legg Advisers LLC 45 Milk Street Boston, MA 02 J 09

6 J 7-457-2025 www. binghamlegg. com BINGHAM LEGGQilD ADVISERS Private Wraith Management

Boston • Los Angeles

v?THE BOSTON CONSERVATORY

COME SEE

Piano Masters Series: Gilbert Kalish Tuesday, February 6, 8 p.m. Free concert series. Reservations required. MUSICMORE THAN Call the box office for tickets: 61 7-91 2-9222 DANCE TH E AT Supported in part by the Massachussets Cultural Council

line: 617-912-9240 www.bostonconservatory.edu 8 the fenway, boston, | massachusetts 02215 event ]

64 i^m

1 The Higginson Society (continued)

MEMBERS-$2,500 to $4,999 continued

Mr. Thomas Dean Daphne and George Mr. and Mrs. Benjamin Mr. and Mrs. Stephen Hatsopoulos H. Lacy Demirjian Deborah Hauser Mrs. Eleanor Williams Ladd

Mr. and Mrs. Robert W. Dr. Edward Heller, Jr. Roger and Myrna Landay Doran Mr. Gardner C. Hendrie and Charitable Foundation

Ms. Debira Douglas-Brown Ms. Karen J. Johansen Mr. and Mrs. Louis E. Lataif

Mr. Wesley H. Durant, Jr. Mrs. Noah T. Herndon Mr. and Mrs. Robert A. Mr. and Mrs. Goetz B. Eaton Richard and Carole Lawrence Mrs. Caroline Edwards Higginbotham Mr. and Mrs. Richard A. Dr. and Mrs. Richard H. Mr. and Mrs. Richard D. Leahy Egdahl Hill Mr. and Mrs. David S. Lee Mr. and Mrs. Richard S. Mr. James G. Hinkle and Mr. and Mrs. Robert Emmet Mrs. Roy Hammer Lepofsky Dorothea and Mr. John Hitchcock Mr. Alexander M. Levine Bradford Endicott Patricia and Galen Ho Ms. Emily Lewis

John P. II and Mr. Albert A. Holman III Christopher and Laura Nancy S. Eustis Ms. Emily C. Hood Lindop m Thomas Forest Farb and Mrs. Harry P. Hood, Jr. Mr. and Mrs. Parker Stacy Siana Valhouli Ms. Ruth Horowitz and Llewellyn Shirley and Richard Fennell Mr. Robert Schwartz Lucia Lin Mr. and Mrs. Lawrence K. Mr. and Mrs. Charles A. Keith Lockhart

Fish Hubbard II Mrs. Dunbar Lockwood, Jr. Mrs. Gerald Flaxer G. Lee and Diana Y. Shari Loessberg and Dr. Eric T Fossel Humphrey Christopher Smart Dr. and Mrs. Henry L. Foster Mr. and Mrs. Roger B. Hunt Mr. Graham Atwell Long

Myrna H. and Mrs. Henderson Inches, Jr. Mrs. Augustus P. Loring Eugene M. Freedman Mrs. Joanie V. Ingraham Mr. and Mrs. Caleb

Mr. Stefan M. Freudenberger Mrs. James H. Jackson Loring, Jr. Mr. and Mrs. Henry L. Mr. Herbert R. Jacobs Mr. and Mrs. John A. Foster Mr. and Mrs. Michael Joyce MacLeod II Mr. and Mrs. M. Dozier Mr. and Mrs. Bela T. Kalman Peter E. and Betsy Ridge Gardner Mr. and Mrs. Edwin M. Madsen

Rose and Spyros Gavris Kania, Jr. Mr. James A. Manninen Arthur and Linda Gelb Susan B. Kaplan Dr. and Mrs. John D. Stephanie Gertz Mr. James B. Keegan Matthews Mr. Frank S. Gilligan Bill Kelly Dr. Robert and Jane B. Ms. Pamela Ormsbee Giroux Joan Bennett Kennedy Mayer Mr. Robert Glauber Mr. Paul L. King Mr. William F. Meagher, Jr.

Dr. and Mrs. Clifford D. Mr. and Mrs. Thomas P. Mrs. Robert G. Millar Gluck King Jeffrey and Molly Millman Jordan and Sandy Golding Mrs. Mary S. Kingsbery Mr. Peter Minichiello Mr. and Mrs. Daniel S. Mrs. Elena Kingsland Trudi and Elliot Mishara Gregory Gordon and Prof, and Mrs. Robert Mr. and Mrs. David Mary Ford Kingsley Mnookin Griesinger Joanie and Doug Kingsley Barbara and Jack Morgan Ann and Graham Gund Ms. Barbara M. Kirchheimer Robert and Jane Morse Mr. John Thomas Hailer Mr. Mason J. 0. Klinck, Sr. Mr. and Mrs. George Mosse Margaret L. Hargrove Sue and Harry Kohn Anne J. Neilson Ellen and John Harris Alice Bator Kurland Mr. and Mrs. Andrew L. Mr. and Mrs. Reed Harris Mr. and Mrs. Melvin Kutchin Nichols

Continued on page 67 65 .''*'. >•;—;-:

GOLDENCARE THE CAMBRIDGE HOMES

A Not-for-Profit Tradition of Caring since 1899

Private Geriatric Home Care Offering Gracious Assisted Over twenty years of experience Living in a Georgian Brick 4 hours to twenty four hours a day Building Next to All home health aides are certified, Hospital insured and Golden Care employees Mount Auburn

607 Boylston Street, Boston, MA 02116 THE CAMBRIDGE HOMES 617 267-5858 617-876-0369

Web site: www.goldencare.org www.seniorlivingresidences.com Email: [email protected]

Brandeis in the Berkshires Summer Institutes 2005 hi in

A Dynamic Series of Interactive Institutes with Premier Cultural Events Sessions:

I: July 10-15 Reserve your space today! Call: 781-736-3355 j "'y 2124 jj: www.brandeis.edu/berkshires III. 7h\£.19 August Sponsored by Harold Grinspoon and the Harold Grinspoon Foundation

66 The Higginson Society (continued)

MEMBERS-$2,500 to $4,999 continued

Mrs. Albert L. Nickerson Marcia A. Rizzotto Mr. and Mrs. Richard D. Mrs. Mary Niles Elaine and Jerome Rosenfeld Stone

Mr. Rodger P. Nordblom Dr. and Mrs. David S. Patricia Hansen Strang Mr. and Mrs. Richard Rosenthal Mr. and Mrs. Joseph Norman Dean and Mrs. Henry Swiniarski Dr. James L.J. Nuzzo and Rosovsky Jeanne and John Talbourdet Dr. Bryann Bromley Debbie and Alan Rottenberg Mrs. Charles H. Taylor Mr. and Mrs. Robert T. Mr. William Rousseau Mr. and Mrs. John L. O'Connell Jordan S. Ruboy, M.D. Thorndike Martha O'Neill Mr. John Rutherford Mr. and Mrs. W Nicholas Jason S. and Barbara Stephen and Eileen Samuels Thorndike Meltzer Orlov Sylvia L. Sandeen Marian and Dick Thornton

Mrs. Stephen Davies Paine Betty and Pieter Schiller Drs. Eugene J. and Hilde H. Joseph and Joan Patton Mr. and Mrs. Marvin G. Tillman Mr. and Mrs. John A. Schorr Mr. H. Stephen Tilton Perkins Linda and Arthur Schwartz Mr. and Mrs. Carlos H. Tosi Mr. J. H. Dainger Perry Ginny and Tom Scott Diana Tottenham Ms. Margaret Philbrick and Robert E. Scully, M.D. Marc Ullman Mr. Gerald Sacks Mr. and Mrs. Robert G. Mr. and Mrs. John H. Mr. and Mrs. Richard D. Scully Valentine

Phippen Mrs. Francis P. Sears, Jr. Mr. and Mrs. William C. Van Angie and Leon Piatelli Maurice and Sarah Segall Faasen Leo Wasserman Foundation Robert G. Segel and Mr. Robert A. Vogt Muriel K. Pokross, Trustee Janice L. Sherman Mr. and Mrs. Roger L. Dr. and Mrs. Jerome Porush The Shane Foundation Voisin William and Helen Pounds Mr. and Mrs. Malcolm L. Mr. and Mrs. Mark Volpe Dr. Tina Young Poussaint Sherman Mr. and Mrs. William G. and Dr. Alvin Poussaint Mr. Marshall H. Sirvetz Walker Ms. Helen C. Powell Maggie and John Skenyon Nancy T. Watts Mr. and Mrs. Millard H. John W Spillane and Mr. Matthew A. Weatherbie Pryor, Jr. Rosemary A. Spillane Harry and Ruth Wechsler Mr. and Mrs. Patrick J. Dr. and Mrs. Michael Sporn Ms. Gillian H. Whalen Purcell Mrs. George R. Sprague William Gallagher Ms. Sally Quinn Micho and William Spring Associates Gale and Nancy Raphael Mrs. Rex Stark Mr. Stetson Whitcher Mr. and Mrs. Laurence S. Maximilian and Nancy Mrs. John W. White Reineman Steinmann Margaret C. Williams Robert and Ruth Remis Mr. Thomas G. Sternberg Mrs. John J. Wilson Dr. and Mrs. George B. Ira and Jacquie Stepanian Mr. and Mrs. Leslie J. Reservitz Fredericka and Howard Wilson Donna Riccardi and Douglas Stevenson Rev. and Mrs. Cornelius A. Green Mr. and Mrs. Galen L. Stone Wood, Jr. Howard and Sharon Rich Mr. and Mrs. Henry S. Stone Mr. and Mrs. D. Brooks Zug Mr. and Mrs. Mark V. Esta-Lee and Harris E. Rickabaugh Stone

67 NEXT PROGRAM...

Thursday, February 3, at 10:30 a.m. Pre-Concert Talks by (Open Rehearsal) Jan Swafford, Thursday, February 3, at 8 Tufts University Friday, February 4, at 1:30

Saturday, February 5, at 8 Tuesday, February 8, at 8

RAFAEL FRUHBECK DE BURGOS conducting

ALL-BRAHMS PROGRAM

Nanie, Opus 82

Gesang der Parzen (Song of the Fates), Opus 89

Schicksalslied (Song of Destiny), Opus 54

TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

INTERMISSION

Symphony No. 1 in C minor, Opus 68

Un poco sostenuto — Allegro Andante sostenuto Un poco allegretto e grazioso Adagio — Piu Andante — Allegro non troppo ma con brio — Piu Allegro

This program—the first of Rafael Friihbeck de Burgos's three subscription series for 2004-05 (including two programs this month, to be followed by the season finale in May)—features three major but seldom heard works for chorus and orchestra by Johannes Brahms. All three set poetry drawing on imagery from Greek mythology touching on the idea of fate. The earliest and best-known of the three, Schicksals- lied, is a setting of Holderlin's "Hyperions Schicksalslied" ("Hyperion's Song of Destiny"). Nanie and Gesang der Parzen, also rarely encountered on concert programs, set texts by Schiller and Goethe, respectively. Completing the program is one of the great monuments of the Romantic symphony, Brahms's First, which, ham- pered by the notion of following in Beethoven's footsteps, he didn't complete until after his fortieth birthday.

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, online at www.bso.org, or by calling "SymphonyCharge" at (617) 266-1200, Monday through Friday from 10 a.m. until 5 p.m. (Saturday from 10 a.m. until 4 p.m.), to charge tickets instantly on a major credit card, or to make a reservation and then send payment by check. Outside the 617 area code, call 1-888-266-1200. Please note that there is a $5 handling fee for each ticket ordered by phone or over the internet.

68 COMING CONCERTS . . .

PRE-CONCERT TALKS: The BSO offers Pre-Concert Talks in Symphony Hall prior to all BSO subscription concerts and Open Rehearsals, including the remaining non-orchestral concert in the James Levine Series on Wednesday, April 27. Free to all ticket holders, these half-hour talks begin at 6:45 p.m. prior to evening concerts, at 12:15 p.m. prior to Friday-afternoon concerts, at 1:45 p.m. prior to Sunday-afternoon concerts, and one hour before the start of each Open Rehearsal. PLEASE NOTE that the starting time for the evening and Sunday-afternoon talks has been changed to allow the musicians more time to warm up on stage prior to the concerts. We appreciate your understanding in this matter.

Thursday, February 3, at 10:30 a.m. Wednesday, February 16, at 7:30 p.m. (Open Rehearsal) (Open Rehearsal) Thursday 'A—February 3, 8-10 Thursday 'D'—February 17, 8-10:10 Friday 'A'—February 4, 1:30-3:30 Friday 'A'—February 18, 1:30-3:40 Saturday 'A'—February 5, 8-10 Saturday 'B'—February 19, 8-10:10 8-10 Tuesday 'B'—February 8, ROBERT SPANO, conductor RAFAEL FRUHBECK DE BURGOS, ROBERT LEVIN, piano conductor WAGNER Siegfried Idyll TANGLEWOOD FESTIVAL CHORUS, MENDELSSOHN Piano Concerto No. 1 I JOHN OLIVER, conductor WYNER Piano Concerto, Chiavi ALL- Nanie, Gesang der in mano BRAHMS Parzen, and Schick- (world premiere; BSO commission) PROGRAM salslied, for chorus HAYDN Symphony No. 104, I and orchestra London Symphony No. 1 Thursday, February 24, at 10:30 a.m. Thursday, February 10, at 10:30 a.m. (Open Rehearsal) (Open Rehearsal) Thursday 'B'—February 24, 8-9:50 Thursday 'C—February 10, 8-9:50 Friday Evening—February 25, 8-9:50 Friday 'B'—February 11, 1:30-3:20 Saturday 'B'—8-9:50 Saturday 'A'—February 12, 8-9:50 INGO METZMACHER, conductor RAFAEL FRUHBECK DE BURGOS, HARTMANN Symphony No. 4, for conductor strings STEVEN ISSERLIS, cello (American premiere) STEVEN ANSELL, viola MOZART Serenade No. 10 in B-flat AWET ANDEMICAEL, soprano (The Boy) for thirteen winds, PETER BRONDER, tenor (Master Peter) K.361(370a), Gran JONATHAN LEMALU, baritone Partita (Don Quixote) BOB BROWN PUPPETS Programs and artists subject to change. FALLA Master Peters Puppet Show STRAUSS Don Quixote

massculturalcouncil.org

69 SYMPHONY HALL EXIT PLAN

MASSACHUSETTS AVENUE

^^ III * ' r T > \ 09

H ft 1ST BALCONY 00 > o I > I 1 AND ft z 1-s 1 tft 1 2ND BALCONY 1: o o J S

X J, 1 *

III I 1

MASSACHUSETTS AVENUE

IN CASE OF AN EMERGENCY Follow any lighted exit sign to street.

Do not use elevators.

Walk don't run.

70 SYMPHONY HALL INFORMATION

FOR SYMPHONY HALL CONCERT AND TICKET INFORMATION, call (617) 266-1492. For Boston Symphony concert program information, call "C-O-N-C-E-R-T" (266-2378).

THE BOSTON SYMPHONY performs ten months a year, in Symphony Hall and at Tangle- wood. For information about any of the orchestra's activities, please call Symphony Hall, or write the Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115.

THE BSO'S WEB SITE (www.bso.org) provides information on all of the orchestra's activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction.

THE EUNICE S. AND JULIAN COHEN WING, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue.

IN THE EVENT OF A BUILDING EMERGENCY, patrons will be notified by an announce- ment from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions.

FOR SYMPHONY HALL RENTAL INFORMATION, call (617) 638-9240, or write the Director of Event Services, Symphony Hall, Boston, MA 02115.

THE BOX OFFICE is open from 10 a.m. until 6 p.m. Monday through Saturday; on concert evenings it remains open through intermission for BSO events or just past starting time for other events. In addition, the box office opens Sunday at 1 p.m. when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge.

TO PURCHASE BSO TICKETS: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, or to make a reservation and then send payment by check, call "Symphony- Charge" at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (or until 2 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $5 for each ticket ordered by phone or online.

GROUP SALES: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255.

FOR PATRONS WITH DISABILITIES, an access service center, large print programs, acces- sible restrooms, and elevators are available inside the Cohen Wing entrance to Symphony Hall on Huntington Avenue. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289.

THOSE ARRIVING LATE OR RETURNING TO THEIR SEATS will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons.

IN CONSIDERATION OF OUR PATRONS AND ARTISTS, children four years old or younger will not be admitted to Boston Symphony Orchestra concerts.

TICKET RESALE: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution.

RUSH SEATS: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $8 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. and Tuesdays and Thursdays as of 5 p.m. Please note that there are no Rush Tickets available for Friday or Saturday evenings. •*

71 PLEASE NOTE THAT SMOKING IS NOT PERMITTED ANYWHERE IN SYMPHONY HALL.

CAMERA AND RECORDING EQUIPMENT may not be brought into Symphony Hall during concerts.

LOST AND FOUND is located at the security desk at the stage door to Symphony Hall on St. Stephen Street.

FIRST AID FACILITIES for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the switchboard near the Massachu- setts Avenue entrance.

PARKING: The Prudential Center Garage offers discounted parking to any BSO patron with a ticket stub for evening performances. There are also two paid parking garages on Westland Avenue near Symphony Hall. Limited street parking is available. As a special benefit, guaran- teed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575.

ELEVATORS are located outside the Hatch and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing.

LADIES' ROOMS are located on the orchestra level, audience-left, at the stage end of the hall; on the first balcony, also audience-left, near the coatroom; and in the Cohen Wing.

MEN'S ROOMS are located on the orchestra level, audience-right, outside the Hatch Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing.

COATROOMS are located on the orchestra and first-balcony levels, audience-left, outside the Hatch and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not re- sponsible for personal apparel or other property of patrons.

LOUNGES AND BAR SERVICE: There are two lounges in Symphony Hall. The Hatch Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time.

BOSTON SYMPHONY BROADCASTS: Friday-afternoon concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by WGBH 89.7 FM. Saturday-evening concerts are broadcast live by WCRB 102.5 FM.

BSO FRIENDS: The Friends are donors to the Boston Symphony Orchestra Annual Fund. Friends receive BSO, the orchestra's newsletter, as well as priority ticket information and other benefits depending on their level of giving. For information, please call the Develop- ment Office at Symphony Hall weekdays between 9 a.m. and 5 p.m., (617) 638-9276. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to the Development Office, Symphony Hall, Boston, MA 02115. In- cluding your patron number will assure a quick and accurate change of address in our files.

BUSINESS FOR BSO: The BSO's Business Leadership Association program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra through a variety of original and exciting programs, among them "Presidents at Pops," "A Company Christmas at Pops," and special-event underwriting. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, and priority ticket service. For further information, please call the Corporate Programs Office at (617) 638-9466.

THE SYMPHONY SHOP is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Tuesday through Friday from 11 a.m. until 4 p.m.; Saturday frojn noon until 6 p.m.; from one hour before each concert through intermission, and for up to thirty minutes after each concert. The Symphony Shop features exclusive BSO merchandise, including the Symphony Lap Robe, calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children's books and musical- motif gift items. A selection of Symphony Shop merchandise is also available during concert hours outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orches- tra. For further information and telephone orders, please call (617) 638-9383.

72 <**'"''/

Y)ua be surprised what we're up to.

Mention the name Bose®and peo-

ple usually think of home audio

products, like our world-renowned

Wave® radio. After all, home audio

is where we first earned our reputa-

tion as the most respected name in

sound. Today we create premium

audio systems for everything from

luxury automobiles to retail stores

to aircraft and even the space shuttle.

So the next time you're impressed by

a sound system, look for the Bose

logo. You may be surprised what

we're up to.

To learn more about Bose and Bose

"Bose breaks the mold ... Who said products, visit us on the Web at American companies can't innovate?" www.bose.com/cm - Rich Warren Or call us at 1-800-444 -BOSE.

a legacy of giving

anna finnerty, who loved having tea with the development staff, left this cup and saucer as a reminder of how much she enjoyed volunteering at Symphony Hall.

One day, after giving her time stuffing envelopes, Miss Finnerty asked how she could leave a gift to the BSO in her will, thereby becoming a Walter Piston Society Member. She was told to add the wording, "I hereby bequeath the sum of $ to the Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115, tax ID #04-2103550."

She certainly followed up on those instructions. After her death, Miss Finnerty's estate gave the BSO more than $1 million to endow the Assistant Conductor chair in perpetuity.

If you would like to talk with one of our professional development officers about leaving your legacy at the Symphony,

please call (617) 638-9252 or e-mail [email protected]. You may be assured of complete confidentiality. .cv

> \

'ELRY MONDS

But Diamonds * Right Hand Rings Natural Colored Emeralds Drop Earrings Diamond Studs Buccellati Silver Figures Art Nouveau Jewelry Antique Diamond Bracelets * Rare Gems Natural Colored Sapphires Tahitian Pearls * Signed Jewelry Antique Pins Cultured Pearts Diamond Necklaces Custom Made Engagement Rings * South Sea Pearls * Fine Gold Jewelry Fine Pre-Owned Wrist Watches Natural Colored Rubies Antique Collectibles * Silver Frames Carved Crystal Figures D^ID&COMPANY Sellers & Collectors Of Beautiful Jewelry

232 Boylston Street (Route 9), Chestnut Hill, MA 02467 617-969-6262 1-800-328-4326 www. davidnndcompany.com »:•..; &: I • " ilSiffl

Newburyport High School Gymnasium, Newburyport, MA

\ \ / 1 The Office of Michael Rosenfeld, Inc., Architects W.Acton, MA 01720 Tel: (978) 264-0160 www.omr-architects.com

/ / V Residential I Educational I Religious I Corporate I Municipal